Lu Xun is the most profound, rich and culturally attractive great figure in China intellectual circles in the 20th century. Let's not argue whether Lu Xun, a writer and thinker, is so "great". Just look at his literary works. His novels, essays and prose poems are few, even the most. Today, many people still like it, read it, study it, and some people hate it. It is enough to show that Lu Xun is not so easy to be taken away. The reason why this "old stone" is not easy to move is that besides its quality, I am afraid there is a kind of permanence and futurity of "walking with you". It is difficult for people to erase the luster of an ancient vessel, just as it is difficult to erase its pattern. The permanence of his existence has almost nothing to do with any "defender". In other words, whether you like it or not, you have to admit that Lu Xun always has his own unique ideas, which are more unpredictable than many great writers in China in this century. These thoughts are closely related to the survival and outlet of the whole nation in the world. His thoughts even went beyond the scope of a nation itself. This is the main reason why some familiar foreign friends have attached importance to Lu Xun for decades and studied him tirelessly. One of my doctoral students in Korea said at the end of the assignment of the course "Lu Xun Studies" that she felt very sad about the literature of her country in the past 100 years because we didn't have such a writer as Lu Xun. On 1937, Yu Dafu wrote a 230-word essay "The Greatness of Lu Xun" to the Japanese magazine "Transformation", saying: "If you ask China, who is the greatest since the New Literature Movement? Who can best represent this era? I will not hesitate to answer: it is Lu Xun. Lu Xun's novels are higher than all China's masterpieces in this field for thousands of years. As for his prose, it provides a style. Has the time passed before me? Later generations will never follow suit. First of all, it is characterized by profound observation, sharp speech, concise writing and clever metaphor, and because of its elegant and humorous atmosphere, it is no wonder that readers will feel a biting taste that they are not afraid of death even after drinking poisoned wine. When we see the part, he sees the whole. When we are keen on grasping reality, he has grasped the past, present and future. To fully understand China's national spirit, there is no shortcut except reading the complete works of Lu Xun. " Seriously! This passage, like "the coffin is sealed", still makes us think deeply.

Because of the special relationship between Lu Xun and his legacy and the cultural development of China in the 20th century, because of the dependence of political power and ideology on the function of literature in shaping the national spirit, and because of the "over-interpretation" of Lu Xun by the authorities and researchers for the unity of public opinion or the challenge of ideology, there has always been a contradictory movement process of super-secular sanctification and anti-sacred secularization in the history of Lu Xun's acceptance since the 1930s. In the past twenty years, there have been many criticisms of Lu Xun in various forms, and the current trend of "approaching" is the inevitable trend of Lu Xun's secularization against sacredness.

Lu Xun's interpretation has always been dominated by some political authorities, cultural elites and academic knowledge groups. Although there are great contradictions and oppositions in their ideas, their political interpretation, ideological interpretation and cultural interpretation, whether in the "mainstream" or "marginal", regard Lu Xun as a panacea for solving some social problems and constantly add some brilliant "added value" to Lu Xun. This aspect, as well as the cultural psychology and way of thinking reflected from it, are generally consistent. They (many times, including myself) did not actually learn the historical lesson that Lu Xun was respected in the decade of the Cultural Revolution from a deeper level. In their different ways of interpretation, Lu Xun still acts as a representative of guiding public opinion and has an authoritative voice that overwhelms the other side to the greatest extent. In terms of fashionable "discourse", it is to create a "discourse hegemony" that either maintains the mainstream ideology or challenges it. In this way, he intentionally or unintentionally tried to pull Lu Xun down from the shrine, and at the same time (or just on the surface), he painted many new auras on Lu Xun. The result not only prevents more people from getting close to and understanding the real Lu Xun, but also creates some insurmountable psychological shadows and artistic "myths" in the current literary creation. A little disrespectful words are regarded as "subversion", "defense", denouncing "derogatory" and even banning publications, which is eloquent. In the Scream of Breaking the Iron House, Lu Xun himself was thrown into the iron house by different forces, and he was not allowed to move a finger. This is the tragedy and desolation of Lu Xun's fate.

The anti-sacred "secularization" efforts and the "deconstruction" of the sacred cry and struggle bring us the message that we are eager to further break the imprisonment and demand ideological emancipation. Needless to say, at least, it can make us look at and think about Lu Xun in different voices. Even if it can't change our perspective and thinking, it can also add some "coolant" to our research, so that we can reflect on ourselves and move forward.

First, has Lu Xun's literary creation been more realistically recognized and grasped? One of the consequences of "deifying" Lu Xun is to cover up the discussion on the authenticity of Lu Xun's literary creation. Unrealistic means unrealistic elevation, that is, maintaining perfection. Therefore, people now have reason to ask some questions: Is the art of Lu Xun's novels Scream and Hesitation so complete and mature? Is the thought that broad and profound? Are there any failures and second-rate and third-rate things in this? Are novels with immortal value and world influence, such as The True Story of Ah Q and Diary of a Madman, so perfect? Are there any imperfections in art and thought? Are there so many descriptions of "oil" in New Stories so reasonable and avant-garde in artistic aesthetics? As for the essays that account for the largest part of Lu Xun's works, how to make a scientific evaluation is even more a problem. Mr. Yang Hui, the old dean of our Peking University, always thought that Lu Xun's essays were not literary works. At least part of his question is true. Because the essay itself is a very vague concept. Some of Lu Xun's essays are purely academic essays, literary papers, letters (non-literature), speeches, advertisements, notices, explanations and errata, which seem to have nothing to do with the nature of literary creation; Some quarrels and arguments, sporadic notes, current affairs essays, textual research of ancient things, prefaces and postscripts of books and periodicals, prefaces and postscripts of translation, questions and answers of magazines, catalogues of translated works, etc., most of which seem to be hard to say what literary character they have. Of course, there are also many "beautiful essays" and essays with strong aesthetic character. Yu Dafu on Lu Xun's contribution to the style of writing "Where are those lost times in front of me?" It is based on this. The current situation is: good and evil are mixed, and good and bad are not divided. We should at least do some panning and screening to make prose a literary work. In that way, we won't always make such a sound: "Lu Xun's essays?" ! Is that literature, too "

Second, is the tendency of creating gods in Lu Xun's research still a potential existence? Since the new era, the thinking of maintaining theocracy and destroying theocracy has come together: the history of idolizing Lu Xun in the Cultural Revolution has ended, and in recent years, there have been some conscious and unconscious tendencies to create gods in academic research. Some researchers simply don't admit that there is a phenomenon of deifying Lu Xun in the ten-year catastrophe, and think that it is vulgarization rather than deification. They always interpret Lu Xun in the direction of their own understanding and willingness, and always add more weight to Lu Xun's brilliance and profundity. Therefore, for challenging disrespectful remarks, there is often a defender's vigilance and response. In addition, since the1980s, Lu Xun, while being interpreted as a great prophet in many ways, reshaped the May 4th Movement into his own illusion. The interpretation of his thoughts of "establishing people" and "transforming national character" is excessively divorced from the historical situation and its own nature, and its functions are abstracted, generalized, one-sided and mythical. Lu Xun cut off and ignored the connection with the forces representing social progress and the revolution promoting social progress. He struggled for the national cause all his life and was shaped into a "spiritual warrior" who was full of personal pain and inner darkness and fought against loneliness and despair to death. Lu Xun's darkness and emptiness are endowed with almost sacred philosophical color. In this way, while subverting an idol of the "flag bearer of the Cultural Revolution", it is also shaping an idol that adheres to the spirit of individual independence and liberalism for life. The fact is, no matter how sincere the researchers are, how serious and beyond the academic, Lu Xun has become a banner, a symbol, a fable, and a tool to confront different social trends of thought. Opponents of instrumentalism themselves fall into another kind of instrumentalism. Restore the historical features and at the same time shape your own historical imagination. "Deification" was replaced by "myth". In the process of defending and destroying idols, the academic trend of thought under the influence of potential "creating gods" interprets Lu Xun in this way, but at the same time, the desire to oppose deification and demand to know the real Lu Xun is suppressed and obscured. Because of their dual dissatisfaction with power consciousness and enlightenment interpretation, they are extremely disgusted with Lu Xun himself and Lu Xun's research and fierce criticism of the cultural "God-making Movement" since the 1990s, which is an understandable voice.

Third, are there any spiritual defects worthy of reflection in the advocacy of ideological enlightenment and the enlightenment movement with Lu Xun as the master in the 1990s? It should be admitted that in the modern society of China, where the legacy of feudalism has existed for a long time, ideological enlightenment is bound to be a long-term unfinished business of the intellectual community. As long as the pursuit of political system reform and social ideological modernization is not realized, Lu Xun will become the most suitable role in this long enlightenment. Faced with the reality that some ideological shackles are the same as the black "dye vat", I have the same pain and longing as the advocates of modern ideological enlightenment, hoping to make some real voices by myself or with the help of Lu Xun. However, people gradually found that while praising the rationality of Lu Xun's participation in this enlightenment trend, intellectuals also showed their own defects opposite to Lu Xun's: too much reference to the western social and political thought mode, less consideration of Lu Xun's flesh-and-blood relationship with the broad masses of the people, the most important spiritual level, and the individual's independence, freedom and illusory "ultimate concern" were above all else, while the people's sufferings were indifferent, and the focus of attention was often only in a very limited range. The inevitable relationship between the pursuit of liberalism and the specific historical situation has been greatly ignored. How much weight do the actual living conditions of millions of people, their sufferings and the freedom they can enjoy have in our hearts? In this way, we have to show that modern enlightenment attaches importance to "people-oriented" and ignores the narrow thinking of "people-oriented". In the narrative of the enlightener, "people-oriented" is often equivalent to "populism", revealing such information. Lu Xun, known as "soul of china", was mourned by tens of thousands of people when he died, which always gave people a feeling of "unattainable" in the readers' works. So I have always had a doubt: for a while, it seems that Lu Xun was misunderstood somewhere. This misunderstanding comes from a deeper understanding of Lu Xun's ideological spirit itself.

Time is a promise, time is a oppression. 2 1 century, there will be a new breakthrough in the understanding and research of Lu Xun, which is different from the past. Compared with our century, Lu Xun's imagination at that time and Lu Xun's research will certainly not be exactly the same. The image of Lu Xun in the future and the study of Lu Xun are all born of various voices. Schopenhauer said: "Some people often cite authoritative words to argue about an event", "argue with eloquence and shout for victory"; He also said that "no matter what era, there are two different kinds of literature and art", one is "real" and "immortal literature and art", and the other is "flowing literature and art" that delivers countless works to the market every year. (Schopenhauer's Collected Works, pp. 10, 12, Baihua Literature and Art Publishing House, 1987) Lu Xun opposes quoting "authoritative words" like "picking sentences", but he will always be a quoted person who picks sentences. Lu Xun hoped that his works would "decay rapidly", but his works have become "immortal literature and art" in this century. I believe that not only our century, but also the next century, the next century and the next century will be "picked up" and "immortal". Ah Q hasn't lost a child so far. He really loves Lu Xun, likes reading Lu Xun's books, eating Lu Xun's meals, taking Lu Xun as a stepping stone, criticizing and criticizing Lu Xun in various ways, taking pride in opposing Lu Xun all his life, belittling Lu Xun, defending Lu Xun, and so on. I believe such people will exist forever. Of course, I also believe that without the sacred aura, while being criticized and belittled more, the future Lu Xun will certainly show his deeper and greater side in the eyes of some people.

We should see that the different voices in Approaching may reveal just such a message, seeking diversified interpretations of the "classics" of the 20th century. There's nothing to be surprised about. At this time when we are about to enter the new century, the most worthy of questioning and reflection is ourselves.

In the face of media comments on Lu Xun's views, it is relatively easy to explain and answer their reasons. What is difficult is that their comments have aroused our awareness of Lu Xun's research: how to keep a close eye on Lu Xun's meditation with a broader mind, vision and expectation that we are about to enter the new century, and keep a pure land of Lu Xun's research free from the influence of various social trends of thought and the interference of the pressure and temptation of the market economy. Really take the time to promote the in-depth study of Lu Xun, and make a more authentic interpretation of Lu Xun, a charming cultural figure, so that a more authentic Lu Xun can approach people's acceptance field and participate in people's artistic and life creation while we are constantly approaching Lu Xun. Let outdated things become obsolete, and outdated things should return to nothingness. To do this, of course, it takes time, but also needs to experience the pain, will and sincerity beyond yourself. Perhaps it can be said that the study of Lu Xun should have a sincere heart for the people like Lu Xun: seeking truth from facts, making great efforts to govern, not fidgeting, not shocking the world, not only novelty, not grandstanding, not only for my use, not only for the pursuit of officials. These are just a little enlightenment we got from this shock wave of "approaching Lu Xun".

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