Social drama in middle school Chinese textbooks is not the whole of the original text, but this abridgement may be guiding and stipulating more people's understanding of the original novel. What it shows in our memory is only an exquisite landscape map of a small town in the south of the Yangtze River, with beautiful scenery, fragrant beans and wheat, simple folk customs and a large group of naive children, which is enough to make people have some illusions. However, watching Beijing opera twice in connection with the above is not an impression at all. In the theater, "panic disaster" is a "tool associated with lynching" from the bench. With the strange and heavy impression left by the first half of these novels, we should reread the articles we have read and have new feelings, new discoveries and new eyes. Recall Lu Xun's play in Zhaozhuang again. It is so boring. Its significance is not in the play itself, but in reflecting his inner world. Through these unusual feelings in the process of "watching a play", the human body will feel a kind of spiritual expansion and occupation, which will make people feel the threat of individual life and even life. It is really incomparable with the leisure behind. However, this co-occurrence has produced guilt and realistic experience that cannot be surpassed and stripped. At this time, the pastoral life of Lu Zhen described from the perspective of children has disappeared, leaving only endless scars and inexplicable regrets in my heart. Lu Xun also constructs the whole novel from the perspective of defamiliarization, and the abridged part in front is unfamiliar in reality and cannot be integrated into the real experience. The latter always returns the same enthusiasm of different locals with a shy attitude, and fails to sink into the "hometown", so the image of "middle man" in Lu Xun's thought jumps to the page. This kind of indirectness of looking back and showing is the recombination of "I" and the author in the works, thus embodying realism at a deeper level.
When analyzing Lu Xun's thoughts, Qian Liqun pointed out that Lu Xun, as a realist, has the most fundamental significance, that is, he completely rejects all myths and fantasies about absolute, perfect and beautiful, and puts an end to all spiritual escapes, leaving people with only one choice-to face up to reality, to face up to the imperfections, defects and rapid decay of life, and to fight a way out from this face up. For the memory of his hometown, whether it is the language of real prose or the style of autobiographical novels, Lu Xun traces back to his hometown and shows an absolutely clear world. This fairy-tale life, as a fantasy of eternal utopia, shows unattainable realistic sorrow in reality. The defamiliarization perspective is not a simple description of homesickness, but highlights the image of a foreigner standing in his hometown. This desolation of homelessness and despair constitutes the other side of "desolation" of Lu Xun and his works. Those pastoral songs actually buried reality in the grave of reality, but pastoral songs are just memories of Lu Xun's love experience, but they run counter to each other. Lu Xun himself once said that "love becomes a fear of love and eventually escapes from love". These memories of love have produced a sense of distance, which can make him get rid of the pressure of love and devote himself more to confronting reality.
"Love is a luxury, in such a world", it is in such a wandering land that Mr. Wang built a monument with the deepest soul of worrying about the country and practiced realism with pastoral poetry.
An enlightener in despair and hope
I read Regret for the Past a long time ago, and I also read Lu Xun, but I don't understand. In my memory, only Zijun walked through the wisteria shed and chatted with Juansheng about Ibsen and the scenery of Tagore. Zijun glimpsed the shyness of Shelley's bust and felt sorry for Zijun's death. I copied Lin's "Don't lose": "Don't lose/the enthusiasm of the past/now flowing like water/gently/at the bottom of a cold mountain spring/at night, in a pine forest/sighing in the dark/you still have to save the truth/the lights opposite the mountain/the stars all over the sky/just invisible/hanging like a dream/you still have to believe that sentence-/. Zijun's fearless "I am myself, and none of them has interfered with my rights" represents many young people influenced by western romanticism. In the disillusionment of the dream of talented people and beautiful women, we can only leave a sigh for feudal defection. Among them, Lu Xun's exposition on the relationship between the existence of individual life and social and historical groups was deeply touched, especially his unforgettable enlightenment in despair and hope, and the blank of struggle between individualism and humanitarianism, leaving him only a little space to taste loneliness again.
Regret for the Past was written during the ebb tide of the May 4th Movement. As Lu Xun experienced in the exhibition, all the individuals expressed the different historical destiny chosen by the pioneers for loneliness. The death of Zijun and the regret of Juansheng are the results of self-selection after breaking through the feudal bondage, which is inevitable. This not only comes from the paranoid enlightenment of the May 4th Movement, but also has a vague experience of despair and hope for self-knowledge. Regret for the Past is grasped in the form of Juansheng's notes, in which the description of the decline of the guild hall and the life of auspicious hutong has the nature of memories, and finally failed to fall into the fantasy of utopia myth, and finally returned to reality, faced with new pain and loneliness again, gritted his teeth and chose history. Zi Jun and Juan Sheng's liberation of self-personality includes Lu Xun's early romanticism and individualism. His individualism based on "individual" and feudal traditional thought based on feudal "society" formed sharp opposition. Lu Xun exposed the disregard and destruction of feudal thoughts on individual life right, and at the same time, he also entrusted some views of western romanticism here. Zijun and Juansheng read Tagore and Shelley's poems together, walked together, discussed the future together, got rid of the shackles of feudal cages without fear, and realized self-enlightenment. After a period of time, what lingered on the edge of hope was despair, which came from the confusion of the unknown road ahead. What we are waiting for is a real crisis. Financial constraints and the incomprehension of family and friends made Zijun and Juansheng doubt this kind of life, so one began to indulge in intrigue with his wife, and the other began to reflect on the reality in his heart. This betrayal is of historic significance. The problem behind personality liberation is how to combine and coordinate with the whole social history, and this combination and coordination will not lose self. Among them, Lu Xun proposed the relationship between individualism and humanitarianism. Doubt about personality enlightenment is not only a simple experience, but also a conscious doubt about people. People's independent character and freedom consciousness should develop in harmony with people.