Keywords "Scream", criticism, whole reading teaching
Scream is a landmark work in the history of modern literature in China. Since its birth nearly a hundred years ago, countless writers have absorbed the nutrients of thought and art from it, and China's articles have also been selected as textbooks of Chinese studies in different periods. "Chinese Curriculum Standard for Ordinary Senior High Schools (20 17 Edition)" includes "Reading and Discussion Encyclopedia" in the curriculum content. No matter from which angle, according to what standards, screaming is among the best. Subsequently, from the implementation of curriculum standards, how to make students read "Shout" to "reach the standard"? The first challenge is how to read and understand every work in The Scream. The Scream contains 14 novels written by Lu Xun from April 19 18 to June 1922, plus the preface of 1922. Taken alone, these works are self-sufficient and don't need to mention novels. Even the preface of Scream is an excellent essay. Only by understanding the content, structure and creative intention of these works respectively can we have a cognitive basis for grasping the whole book Scream. Lu Xun assembled them into a book, which is always called "Scream", which is equivalent to making a "summary" for his creative practice. It can be said that "Scream" reflects Lu Xun's ideological tendency in the early days of the new-democratic revolution, and it is the total explosion of his personal feelings that he has saved for many years and suppressed for a long time. There are persistent ideological exploration, intermittent emotional context and consistent artistic pursuit between chapters. These internal relations make Scream a grand landscape like "group pictures", "group images" and "gardens", which enables readers to enter Lu Xun's spiritual world from a deeper level, appreciate this literary masterpiece from a higher position, and even come into contact with Lu Xun's complete works for contemporary youth, which have been reshaped by Lu Xun. Therefore, the second challenge is that all the "collections" of the whole book have to face: how to understand the internal relations of chapters and understand the whole book? In terms of ideological content, the internal relations among the chapters of Scream are endless. On the basis of discussing important topics, this paper inspires readers to explore and discover other topics, that is, "how to treat the criticism of Scream".
First, grasp the "critical" reading "cry"
Shuo Wen Jie Zi and Shuo Wen Jie Zi are interpreted as "backhand blow", which refers to an aggressive, repulsive and painful action of placing the object opposite [1]; People who "judge" are divided, which means making decisions and rulings. The combination of criticism and judgment is to "systematically analyze wrong thoughts, speeches or behaviors in order to refute and deny them" [2]. In "Scream", except the social drama as a whole presents bright colors and warm emotions, the rest are more or less critical in narrative content, although their themes and themes are different, and some of them are even heavy and depressing, suffocating and desperate. "Criticality" refers to this universal and strong ideological tendency contained in the whole book.
Correctly treating the origin and expression of criticism in Scream and Lu Xun's own attitude towards criticism are of great value to teaching practice.
First, criticism is the lingering label of Lu Xun's works. People who agree with Lu Xun say that he has no servility and obsequiousness [3], and his works are "daggers" and "spears", which directly hit the enemy's heart. [4] Those who oppose Lu Xun say that he loves to call names, that he is a "knife and pen official" and "Shaoxing touts", and that he is good at Luo Zhiren's charges. Anyone who annoys him will always "jump up and scold you to pieces-you won't stop." [5] Even Lu Xun himself admitted: "In China, my pen is sharp and sometimes I speak without mercy. But I also know how people use the reputation of justice, the emblem of a gentleman, the gentle mask, the weapon of gossip, the tortuous words and selfish interests to make the weak without a knife or pen unable to breathe. If I don't have this, I will be bullied to the point where there is no way to appeal; I am awake, so I should use it often. " [6] Of course, these other comments and self-evaluations do not all refer to the "shouting" period, but more to Lu Xun's performance after he fell into various "agitation" and "controversy" in the mid-1920s. But people's behavior is consistent. When Diary of a Madman was published, Lu Xun was 38 years old, and his outlook on life and creation were relatively mature. Compared with later essays, The Scream just doesn't focus on people and things in real life, and the way of criticism is not tense debate, but the depth and breadth of criticism are not inferior. I have read the criticism of Scream, read more than half of Scream, and read the most important label of Lu Xun's life.
Secondly, in today's era, the ethical code of "cannibalism", which has lasted for thousands of years, has been cleaned in form. If we simply compare today's China with the cries of life appearances, the new era will be paradise and the old society will be purgatory. It seems that the criticism of screaming should be silenced with the disappearance of the object. Lu Xun has repeatedly expressed the hope that his articles will "rot quickly" [7], because as long as the value of critical articles is still there, it means that the content of criticism is still as gangrene as tarsal bones, and as a soldier, "mutually assured destruction with you" is the best destination. Regrettably, most of the things criticized by Lu Xun have "evolved" with the development of society and exist in a more advanced and hidden form. We can hardly feel it without reading Lu Xun; After reading Lu Xun, you may not feel it, but at least you have a chance to feel it. Standing on the height of "building a person by virtue", let teenagers read more about Lu Xun, understand and perceive why he criticized, what he criticized, and how things he criticized stubbornly exist in the present, around him, and on themselves, and then carry this heavy feeling on their shoulders and do something down-to-earth, so it may not be impossible to create a society that will make Lu Xun's works "decay rapidly" in the future.
Third, middle school students generally don't like reading Lu Xun. The reasons are not all because the words are difficult or there is too much background knowledge and too much ideological content. This is also an important aspect of criticism and reflection. Many students said that the academic burden is already very heavy, and they really don't want to "ask for it" anymore. As a teacher, if students want to be what they should be, they should be guided to read serious literature facing life and society, such as Scream, and find a way out in places of contradictions and conflicts.
Second, the critical origin of screaming
The criticism of Scream originated from the social environment and special mission of Lu Xun's creative period. Before and after the May 4th Movement, the main proposition of China society was to save the nation and survive. Before the May 4th Movement, people with lofty ideals tried their best, but the Westernization Movement failed to learn from the West in technology. The Reform and Reform Movement and the Revolution of 1911 did not learn from the West in terms of political system. As a result, although it was called the "Republic of China" after the Revolution of 1911, the nature of the semi-colonial and semi-feudal society has not changed, the people's suffering has not been alleviated, and they are always facing the crisis of national subjugation and extinction. Lu Xun described the situation in the preface to "Scream", just like "an iron house without windows is extremely difficult to tear down. There are many people sleeping inside, and they will soon suffocate. " At this time, Chen Duxiu and other intellectuals found another way, using democracy and science as weapons, and launched a fierce attack on feudal thought. New Youth, 19 15 was founded in Shanghai, and 19 17 moved to Beijing, which is its main position. Before the publication of Diary of a Madman, New Youth had published a large number of critical articles, including [8] which encouraged young people to "break the net of past history and destroy the shackles of stale theories", as well as arguments about monarchy and * * *, pros and cons, and criticisms of Confucianism. It can be said that in the core circle of the New Culture Movement, criticism is a collective feature. Among all the criticisms, the most powerful one is the criticism of classical Chinese. Language is the carrier of thought, and dead language cannot write living literature. To enlighten the masses, we must start from the roots and emancipate people's minds with the language revolution. But it is easier to shout slogans than to engage in creative practice. Without decent works, the vernacular movement is an armchair strategist. Hu Shi said in his speech in his later years: At that time, everyone advocated vernacular Chinese, but they were not good at literary creation. Only the Zhou brothers, especially, have the ability in this field, so everyone mobilized him to write. Lu Xun also mentioned in the preface of "Scream": "They were running" New Youth ",but at that time it seemed that no one was in favor of it and no one opposed it. I think they may feel lonely. " It is not difficult to see that Lu Xun and the masters of "New Youth" at that time are a direction and road in enlightening the people's wisdom, and Lu Xun's main responsibility in this group is not to write those outspoken essays, but to create literary works that match the views advocated by the "masters" to prop up the "building" of vernacular Chinese.
But without deep internal motivation, Lu Xun wouldn't have written so many sensational masterpieces just by his talent. The preface of "Scream" begins: "I had many dreams when I was young, but I forgot most of them later ... but I can't forget them all. The part that I can't completely forget is now the source of screaming. " Readers often think that this passage is just the general beginning, but it is actually a key to interpret The Scream. When Lu Xun was young, he had two dreams that he would never forget: one was "coming back from graduation to treat the pain of patients who were treated wrongly like my father, and becoming a military doctor during the war promoted the people's belief in reform in China", that is, "the dream of studying medicine", which sprouted during his study in Nanjing Mining School and became clear before and after he went to Sendai Medical College. Second, "the first thing is to change their spirit, so we should advocate the literary movement", that is, "literary dream", which was born after the "slide incident" and put into action after arriving in Tokyo. From the reflection of these two "dreams", we can gain insight into the internal motivation of Scream to criticize a generation.
First, when Lu Xun was young, he had a strong sense of responsibility for the country and the nation. 13 years old, Zhou Jia was involved in the examination room fraud case because of Lu Xun's grandfather Zhou Fuqing. /kloc-at the age of 0/6, Lu Xun's father Zhou Boyi died and his family went from bad to worse. There are different opinions about whether Zhou Boyi was mistaken by TCM. However, from the article Father's Disease, we can see that at least when he was 45 years old (Father's Disease was written in 1926), Lu Xun still insisted that Chinese medicine failed to effectively treat his father's disease, and because of the high cost of consultation and medicine, it increased the economic burden on his family. We have every reason to believe that Lu Xun's feelings in his youth will be stronger. However, when Lu Xun was studying in Nanjing and Japan, he never thought about being proud or glorifying his ancestors. Instead, he dreamed of studying medicine in order to treat others, "be a military doctor" and "carry forward China people's belief in reform". Such an idea can be said to have the feeling of pushing yourself and others at any time. From studying medicine to dreaming of literature, Lu Xun's initial intention has not changed, but the object and method have changed-saving the body or saving the spirit, using medicine or literature and art. Only a person with a strong sense of responsibility can pay attention to the practical problems of life and the big problems of society, criticize and shout. How can an egoist who has nothing to do with himself and hangs high spend his energy to "expose his illness and attract the attention of treatment"?
Second, Lu Xun received various stimuli during his growth, which made him extremely sensitive to cool thin, shame and pain. Lu Xun said: "Who fell from a well-off family to a poor situation? I think that on this road, we can probably see the true face of the world. " What "true face" refers to is recorded in Miscellaneous Notes and Lu Xun Youth written by Zhou Zuoren in his later years, so I won't repeat it here. In a word, human feelings are cold and warm, and the world is cold, which makes Lu Xun precocious and wise, and also makes him look at people's hearts and society with cold eyes from an early age. At the same time, Lu Xun's self-esteem is very strong, and he often has to go through some things that hurt his self-esteem: when he was a teenager, he received money twice his height at the counter of the pawnshop, which left a great psychological shadow on him who used to be a "young master"; When I was studying in Sendai, I wanted to "celebrate" the applause and applause of Japanese students for the Sino-Russian war. Even more embarrassing, the Japanese were beheaded by the Japanese as Russian spies, while another group of Japanese watched with interest, and there was another Japanese "I" in the lecture hall. These things are often mentioned by Lu Xun in his essays and letters, and are repeatedly "interpreted" in his novels, which shows his deep feelings. In addition, Lu Xun's greatest pain comes from the disillusionment of his dreams in adulthood. Lu Xun is a man with great ambition and strong execution. Whether studying medicine or being a writer, he always does whatever he wants and goes all out. However, it goes without saying that studying medicine, the ambitious "New Life" was declared bankrupt before it was published. After returning to China, although the job and food and clothing have been settled, the ambition to save the country has not been realized, and I have "experienced or seen a few lonely and sad things", and I have long been entangled in the lonely mood that the hero is lost and the dream is hard to chase. The above-mentioned "harm caused by people and me" [9] made Lu Xun deeply worried, sensitive, suspicious and sharp, so he used language and words as "critical weapons" freely.
Thirdly, the dream of studying medicine profoundly influenced the creation of Scream. There are many "patients" in Scream, among which "crazy people" and Chen Shicheng are mental patients, while Hua Xiaoshuan and Bao Er are physical patients. The portrayal of these characters has something to do with studying medicine. From a deeper perspective, Lu Xun, as a writer, always regards himself as a doctor, observing "lesions", describing "symptoms" and grasping "root causes" are the prerequisites for the right medicine. This orientation makes Lu Xun different from the writers who express goodness and praise beauty, and more inclined to "expose illness" and "criticize ugliness". Different from doctors in reality, literature focuses on image, and the way out is where the prescription is. Writers should not call a spade a spade when they have answers, and Lu Xun may not have answers at that time. Now many students have raised the question: Why are Lu Xun's novels more negative and less positive, more critical and less constructive? As we all know, behind criticism is the enthusiasm of "saving the world", and criticism is to arouse the construction of "knowing shame and then being brave". Is this kind of literature that dares to face up to it "chicken soup for the soul" or eulogizes virtue?
Judging from Lu Xun's own experience and temperament, we might as well sum up the reasons why Scream was criticized: the feelings of home and country are the most fundamental source of power, the trauma of the soul is the most primitive emotional foundation, and the main purpose of creation is to cure diseases and save lives. After ten years of silence, screams welled up at the right time. Its criticism is a criticism of the initiative and responsibility of the country and the nation, a sober and sharp criticism after the changes in temperature, and a constructive criticism of the future with literature as the carrier.
Third, the critical performance of Scream
The most striking feature of the criticism of The Scream is its universality. The content of criticism involves history, society, human nature, philosophy and other aspects. For example, Diary of a Madman criticized the phenomenon of cannibalism in feudal history and culture with family system and feudal ethics as the core [10], Bai Guang criticized the abuse of literati spirit by stereotyped writing in Ming and Qing Dynasties, Kong Yiji criticized the social atmosphere accustomed to human feelings in cool thin, the storm criticized the difficulty of blocking and transforming rural social information, and the Dragon Boat Festival criticized the selfishness, hypocrisy and escapism of intellectuals. Judging from the object of criticism, Lu Xun did not point the finger at the emperor and feudal warlords, but inserted the rainbow tube of art into the land of life and wrote about farmers, refugees, intellectuals and childhood playmates, thus avoiding the grand narrative of anti-imperialism and feudalism and portraying a number of figures who were numb, ignorant, selfish, slick, hypocritical, shameless and full of servility on the whole. That is, if the failure of the Revolution of 1911 as a political revolution is because it is divorced from the masses, then the success of Scream as a literary revolution lies in "going deep into the masses". It is worth mentioning that Lu Xun even spared himself. The "Madman" in Diary of a Madman is essentially the image of an awakened person and a pioneer, which represents Lu Xun himself to some extent. When the "madman" discovered the cannibalism network, cannibalism methods and the dangers of cannibalism and tried to persuade people to stop cannibalism, he found that he was actually the brother of a cannibal, and he might not have eaten human flesh. Isn't this Lu Xun's self-analysis As a reliable narrator [1 1], the "I" in A Little Thing is almost the same as the real Lu Xun. In front of rickshaw pullers, "I" feel "small under a fur robe", and the meaning of self-criticism is more obvious.
Secondly, the profundity and advancement of critical thinking. As a thinker, Lu Xun is best at seeing problems from phenomena to essence, and can be summarized in the most appropriate language. Typical examples are Diary of a Madman and The True Story of Ah Q, and "cannibalism" and "Ah Q spirit" have become familiar terms. Other works are not so obvious, so students need to be guided to explore and ask questions consciously. Taking Tomorrow as an example, it seems that Lu Xun only expressed his sympathy for Sister-in-law Shan Si, but in fact, he thought deeply about women's issues in China. When describing Mrs. Sans's petition, consultation, medicine purchase and burial, Lu Xun wrote many times about how Mrs. Sans managed her meager "property", so meticulous that she was careful with the characters, such as "thirteen small silver dollars, one hundred and eighty copper coins", "a pair of gold and silver earrings, one gold and silver hairpin" and "two hundred and ten dollars for each name". These expenses, first, seeing a doctor, including praying for God, seeing Chinese medicine practitioners and catching Chinese medicine practitioners, have exhausted all her cash, but her illness has not been cured; Second, after Bao Er's death, he asked for help, bought a coffin for burial, pawned all valuable things and owed a lot of foreign debts. A detailed description of the economic situation is not only sympathy, but also a profound description of the superstitious thought of praying to God and worshiping Buddha, mysterious Chinese medicine and misleading and harmful "thick burial" culture; Therefore, the tragedy of Sister-in-law Shan comes not only from hooligans like "Old Arch with Red Nose", but also from her own ignorance and the backwardness of the whole social concept. It is at this point that Tomorrow truly shows the enlightenment value of Scream: opposing ignorance and superstition and pursuing scientific rationality. Progress is based on profound and transcending profound existence. Lu Xun's novels can be seen everywhere with ideas that were not thought of by predecessors, and ideas that were not thought of by predecessors but were finally confirmed. Take the Revolution of 1911 as an example. The description of Xia's death in Medicine, Mr. N's accusation against revolutionaries in The Story of Hair, the changes caused by revolution and non-revolution in The True Story of Ah Q, and the reaction of rural people after the restoration of Storm are all directly or indirectly related to the Revolution of 1911. "Medicine" and "The Story of Hair" expressed sympathy for revolutionaries who could not be understood by the masses and were soon forgotten after the revolution. The True Story of Ah Q reveals the inevitability of the usurpation of revolutionary achievements by comparing the panic in the early days of the revolution with the "changing the soup without changing the medicine" after the revolution. Farmers' cognition of such an important historical event as the restoration of The Storm still stays at the cognitive level decades ago, revealing the stubborn remnants of feudal thought in rural society and reflecting the difficulty and necessity of ideological revolution. [12] Generally speaking, when progressives are still immersed in revolutionary enthusiasm, Lu Xun has begun to reflect on the value tragedy of revolutionaries themselves; When people criticized the opportunism of the feudal die-hards, Lu Xun had realized that speculative psychology not only belonged to "Grandpa Zhao" and "fake foreign devils", but also belonged to a low-level figure like Ah Q, and it was within reach. When discussing the incompleteness of the Revolution of 1911, people pay more attention to politics and military affairs, while Lu Xun focuses on peasant civilization and points out the real problems such as the serious shortage of knowledge, information and cognitive ability in rural areas. Throughout China's modern history, the reason why China's * * * Production Party was able to lead the people to win the revolutionary struggle was not precisely because it used faith to arm revolutionaries and used agrarian revolution and cultural education to mobilize and unite farmers. Lu Xun's criticism and reflection on the Revolution of 1911, to some extent, was transformed into reality by the revolutionary struggle led by Comrade Mao Zedong. We cannot but admire the great power of Lu Xun's thought.
Finally, it is the unity of critical spirit and humanitarianism, that is, "angry at it" and "sad at its misfortune" are both external and internal. As a medical student, Lu Xun's humanitarian spirit is as strong as that of a real doctor. Qian advised him to write something. Lu Xun said, "If there are absolutely no windows in an iron house, it will be destroyed. There are many people sleeping in it, and they will soon suffocate. However, they will go from lethargy to death and will not feel the sadness of death. Now you are shouting, you have awakened several sober people, and you have made this unfortunate minority suffer irreparable dying pain. Do you think you deserve them? " This is equivalent to saying that it is inhuman to let others suffer the pain that cannot be clearly changed. This level of awareness and understanding is extremely rare among China writers. Specifically, "anger is indisputable" is not abandonment, disgust and disgust, but is based on "great love" that treats the criticized object as an adult. Ah Q is a famous figure in Lu Xun's works, and criticizing his spiritual victory method is the mainstream, which is most obvious in The Book of Victory and The Book of Re-Victory. But with the decline of Ah Q's fate, Lu Xun's sympathy began to "rise". "livelihood issues" wrote ah q's "begging" and "happy birthday" wrote ah q's feeling of going to the execution ground, and all the lines were full of deep sadness. The "mourning" of "mourning for his misfortune" is not unprincipled and right and wrong. Even for the people he cares about, Lu Xun still maintains a rational trial. In "Medicine", Lu Xun focused on the love between Hua Laoshuan and his wife for their son. This kind of love is very touching, and there is also the author's deep sympathy in it, so that Ye Shengtao thinks that "parent-child love" is the main line of this article, and the loneliness of revolutionaries is only a "secondary line". [13] But we clearly see that Lu Xun is criticizing the couple's ignorance anytime and anywhere. "Xiao Shuan picked up this black thing and looked at it for a while. He seems to be holding his own life, and his heart can't say how strange it is. I opened it carefully, and there was white gas in the coke skin. White gas dispersed, is two and a half white steamed bread. In a short sentence, Lu Xun discovered the truth of "medicine" with Xiao Shuan's eyes-"two halves of white flour steamed bread". At this moment, the old couple's eyes "seem to give him something to inject and take out." In an instant, the depth of love is in sharp contrast with the stupidity of the way of love. Lu Xun created a touching and thought-provoking aesthetic tension with his two-way emotional attitude.
Fourth, Lu Xun's attitude towards criticism.
What is Lu Xun's attitude towards his "criticism"? Does he think that the painstaking "crying" can really work? To answer this question, we should return to the dialogue that influenced the process of China's literary history. After Lu Xun raised concerns about money, Qian replied, "However, since several people are up, you can't say that there is no hope to destroy this iron house." Lu Xun wrote: "Yes, I have my own beliefs, but when it comes to hope, I can't erase it, because hope lies in the future, and I can never convince him what is dispensable with my indispensable proof, so I finally promised him to make a fuss. This is the original diary of a madman. " I still believe that the "iron house" is indestructible, but I'm still not sure about the future because I haven't experienced it. Now that I'm invited to write, and logically irrefutable, I'll try. "Try it" was Lu Xun's attitude towards enlightenment and transformation at that time-he was desperate in his bones and lacked full confidence.
The endings of most works in The Scream reveal this despair. Obviously, such as Kong Yiji, the storm, the Dragon Boat Festival and the story of Ah Q, everything is as usual, as if nothing had happened, and the problem or tragedy just passed lightly. As obscure as Diary of a Madman. People often think that Diary of a Madman is based on a madman's cry-"Save the children!" As the end, in fact, this is the end of the diary, not the end of the story. The real ending tells readers as early as the beginning: "The old gentleman came from afar to see it, but he recovered early and went to a certain place to stand by." In other words, the "madman" in reality is no longer crazy, he is "cured". When he is a "madman", he can shout as an enlightener, but he can't be understood because of the patient's identity; When he returned to the secular world, his words could be understood, but he lost the ability to shout. In short, crazy or not, a madman can never objectively accomplish the mission of enlightenment. Lu Xun not only issued his own cry through Diary of a Madman, but also used the madman's ending as a metaphor for the tragedy that the enlightener would eventually "share the light with the dust". Some readers believe that at the end of the novel Medicine, there are a bunch of wreaths on Yu Xia's grave, which were not planted by himself or left by relatives. Lu Xun seems to imply that like-minded people come to pay homage; At the end of "Tomorrow", Lu Xun wanted to write about her eldest sister-in-law, Shan Si, who hoped to dream of her son but failed to dream in the end, but she didn't write it in the end. At the end of Hometown, "I" saw the beach where Runtu and I were playing in a hazy way, and thought of an inspirational sentence: "Hope doesn't matter, it doesn't matter. It's like a road on the ground; In fact, there is no road on the ground. If there are more people walking, it will become a road. " How can these be said to be despair? In fact, Lu Xun has stated in the preface of "Scream": "Since it is a cry, of course, it depends on the will, so I often don't care about using a bent nose to add a wreath to Yu 'er's grave in medicine. Tomorrow, I won't tell her that my sister-in-law didn't see her son's dream because the Lord didn't advocate negation at that time. " Although there are not many words, the meaning is clear: it is not my intention to write like this, just to complete the "will". "Obviously, Lu Xun made sacrifices in art, because he agreed that struggle must be" will ". He then added: "In this way, the distance between my novel and art can be imagined. "I'm afraid this statement may not be all modest, but it is more or less regrettable, because it can't be expressed independently, which reduces the quality of the work.
In a word, Lu Xun's basic attitude is despair. Criticism is only for a little bit of uncertainty, belonging to the hope of the future. So, does it mean that Lu Xun denied the value of his criticism? If so, wouldn't it be self-contradictory to create a novel with such a strong critical color until it is published? When we put forward and thought about this problem, we really approached Lu Xun from the spiritual level. Lu Xun responded to this in his prose poetry collection "Weeds". In the article "Hope" written two years after the publication of "Scream", Lu Xun quoted petofi's poem "Despair is futile, just like hope". Since despair and hope are all in vain, then "only rely on me to thin the empty night." As Wang Hui said, the essence of this attitude is "resisting despair" [14], which is the most important spiritual temperament of Lu Xun's life. He realized long ago that what he criticized could not be eradicated in the end. Only in the process of criticism and the action of "lean meat" can he gain a solid sense of existence, thus realizing the transcendence and sublimation of the illusory subjective feelings of despair and hope. This is quite close to the theme of Camus's The Myth of Sisyphus and Hemingway's The Old Man and the Sea, and it also partly explains the scholar-bureaucrat spirit of "knowing what not to do", which is worth pondering by young people who are easy to "Buddha" and "lie flat".
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(From Li Yuhui, author of China Teaching News: Beijing Normal University)