The family changes and life experiences after the changes also made Lu Xun close to the lower class from his childhood. His grandmother lives in the countryside, which gives him the opportunity to get in touch with and understand the life of farmers. Especially before and after his grandfather went to prison, he had to take refuge in relatives in the countryside and live in the countryside for a long time. There, he became friends with children in the country, played with them, rowed boats, watched movies together, and sometimes "stole" beans and cooked them in their fields. There is no mutual discrimination and hatred between them, only mutual care and love. Lu Xun recorded his simple, natural, sincere and simple relationship with rural children as the best interpersonal relationship in his life.
At that time, the average scholar took three roads: one was to study and be an official. If you are not an official, you can also be a "screen friend" of bureaucrats. If the first two roads fail, you can still go into business. Lu Xun took another road that was most despised at that time: entering the "foreign school". In China at that time, it was generally regarded as a despicable activity of "selling souls to foreign devils". 1898, 18-year-old Lu Xun, who left his hometown, entered Nanjing Naval Academy with eight silver dollars raised by his loving mother, and later changed to Nanjing Road and Mine Academy. These two schools were established by the Westernization School to enrich Qiang Bing, offering courses such as mathematics, physics and chemistry, and imparting natural science knowledge. During this period, Lu Xun read works on foreign literature and social sciences and broadened his horizons. In particular, Yan Fu's translation of Huxley's Theory of Evolution, an Englishman, had a profound influence on Lu Xun. Evolution is a book introducing Darwin's theory of evolution, which makes Lu Xun realize that the real world is not harmonious and perfect, but full of fierce competition. To survive and develop, a person and a nation must have the spirit of self-reliance, independence and self-improvement. Can't be at the mercy of fate, can't be bullied by the strong.
Lu Xun's outstanding performance in Nanjing Road and Mine School gave him the opportunity to study abroad at public expense after graduation. 1902, he went to Japan, began to study Japanese at Hongwen College in Tokyo, and later entered Sendai Medical College. He chose to study medicine in order to treat patients who were victimized by quacks like his father and improve the health of China people who were ridiculed as "the sick man of East Asia". Lu Xun wanted to enlighten the people of China through medicine. But his dream didn't last long before it was shattered by the harsh reality. In Japan, as a citizen of a weak country, Lu Xun is often discriminated against by Japanese with militaristic tendencies. In their eyes, all China people are "imbeciles". Lu Xun scored 59 points in the anatomy test, so he suspected that Fujino Genkuro, the anatomy teacher, had leaked the examination questions to him. This made Lu Xun feel deeply sad as a weak country. On one occasion, in a slide show before class, Lu Xun saw a China man being beheaded by the Japanese army, while a group of China people stood by and watched. Lu Xun was greatly stimulated. This made him realize that mental numbness is more terrible than physical weakness. To change the tragic fate of the Chinese nation in the world, the first thing is to change the spirit of China people, and the first thing that is good at changing the spirit of China people is literature and art, so Lu Xun left Sendai Medical College and returned to Tokyo to translate foreign literary works, organize literary magazines, publish articles and engage in literary activities. At that time, what he discussed most with his friends was China's national character: what is the ideal human nature? What is China's national character lacking most? What is the root cause? Through this kind of thinking, Lu Xun linked his personal life experience with the fate of the whole Chinese nation, which laid the basic ideological foundation for him to become a writer and thinker later.
During his study in Japan, Lu Xun initially formed his world outlook and outlook on life. However, Lu Xun's thoughts and feelings were not only incomprehensible to most Japanese at that time, but also difficult to get a wide response from students studying in China. The foreign novels he translated can only sell dozens, and the literary magazines he organized can't be published because of lack of funds. The difficulty of family planning forced Lu Xun to return to China to find a job. From 65438 to 0909, he returned from Japan and taught in Hangzhou Zhejiang Normal School (now Hangzhou Senior High School) and Shaoxing High School. This period is a period of extreme depression of Lu Xun's thought. 19 1 1 year also excited him for a while, but then Yuan Shikai proclaimed himself emperor, zhang xun restoration and other historical scandals were constantly staged. The Revolution of 1911 did not change the stagnant reality of China, the social chaos, the national disaster, and the misfortune of personal marriage, which made Lu Xun feel depressed and depressed. After the May 4th Movement, his repressed thoughts and feelings exploded like lava through literary works. At that time, he was already working in the Ministry of Education and moved to Beijing with the Ministry of Education.
19 18, Lu Xun published his first vernacular novel Diary of a Madman in New Youth magazine, which is also the earliest modern vernacular novel in China. This novel embodies all Lu Xun's painful life experiences from childhood to that era and all his painful thoughts on the modern destiny of the Chinese nation. Through the mouth of a madman, it denounced China's feudal autocracy for thousands of years as a history of "cannibalism" and sent out "Never been like this?" Seriously questioned, shouting: "Save the children!" .
After Diary of a Madman, Lu Xun published several short stories in succession, and later compiled two short story collections, Scream and Hesitation, which were published in 1923 and 1926 respectively.
Lu Xun's novels are few in number, but they are of great significance. Lu Xun focused on the bottom of society and described the daily life and mental state of these bottom people. This is inseparable from Lu Xun's creative purpose. Lu Xun said: "My materials are mostly taken from the unfortunate people in the morbid society, aiming to expose the suffering of the disease and attract the attention of treatment." How to start a novel with a southern accent and a northern accent? This creative purpose of expressing and improving life made him describe the most common tragic fate of some of the most common people, such as Kong Yiji, Hua Laoshuan, Shan Sisi, Ah Q, Xianglinsao and Ai Gu. These people live at the bottom of society and need sympathy, pity, care and love from people around them most. But in China society at that time, people gave them insults and discrimination, indifference and ruthlessness. Is such a society a normal society? Is this interpersonal relationship reasonable? What saddens us most is that they live in a loveless world and are tortured by life. But they also lack sincere sympathy for each other. They take an indifferent attitude of watching or even appreciating the tragic fate of their own kind, and vent their pent-up resentment when they are oppressed and bullied by bullies weaker than themselves. In Kong Yiji, there are short-sleeved guests who maliciously ridicule Kong Yiji; In The True Story of Ah Q, others bullied Ah Q, and Ah Q bullied a little nun who was weaker than himself. In Blessing, villagers in Luzhen appreciate Sister Xianglin's tragedy as an interesting story ... All this makes people feel a chill. Lu Xun's attitude towards them is "mourn their misfortune and anger their indisputable". Lu Xun loves them, but he wants them to realize that they can be self-reliant, independent and self-reliant.
In addition to the social figures at the bottom, Lu Xun also created some newly awakened intellectuals. These intellectuals have a need for progress, a good desire to improve society, sincere feelings for others and themselves, and sincere love, but the society at that time could not tolerate them. "Madman" cursed cannibalism, hoping that everyone would become a "non-cannibal" and a "real person". People around him regarded him as a madman and wanted to get rid of him quickly (Diary of a Madman). Yu Xia died for society. Tea drinkers called him a "madman", while Hua Laoshuan cured his son's illness (medicine) with his blood. Wei cared about China society, but society persecuted him. When he stopped caring about China society, people around him came to curry favor with him (the lonely man). Lu in Eating Out, Zi Jun and Juan Sheng in Mourning for the Past all pursued and struggled for the society and themselves, but they all experienced a tragic fate in the stagnant and backward China society.
Lu Xun has an abhorrent attitude towards powerful people and hypocrites. Ding in Kong Yiji, Grandpa Zhao in The True Story of Ah Q, Master Lu Si in Blessing, Guo Laowa in The Ever-burning Lamp, and the seven great men in Divorce are all such powerful figures. They are very powerful, but they have no sincere concern for the fate of others and no enthusiasm for social progress. They only care about their own power and status, selfish, hypocritical and cold, which hinders the progress and improvement of society. Siming in soap and Gao Li Gao are hypocrites and hypocrites. They claim to care about social morality, but in fact they are all immoral people.
Lu Xun's novels are about the ordinary life of ordinary people, without bizarre stories and fascinating plots, but full of infinite artistic charm. Where does this charm come from? It comes from his detailed description of people and life and his incisive description of people's subtle psychology. There is always a "joy of discovery" when reading Lu Xun's novels. The picture is an ordinary picture and the characters are ordinary people, but in such an ordinary picture and ordinary people, we can always notice the characteristics that we don't usually notice and perceive the psychological activities of people who don't usually notice. It is precisely because of this meticulous description and incisive psychological portrayal that the artistic charm of Lu Xun's novels has become more mellow as time goes by. In youth, we are not deeply involved in the world and have no more personal life experiences. Lu Xun's novels enter our sensory world as a whole, but we can't fully feel how rich the connotation hidden in the characters and pictures we feel. With the increase of our social experience and the deepening of our life experience, the connotation of these characters and pictures will continue to sprout from it. In order to reveal the different meanings of different life scenes and the fate of different characters, the structure of Lu Xun's novels is changeable, with almost one style and one writing style. Diary of a Madman is different from The True Story of Ah Q, Kong Yiji is different from White Light, hometown is different from Blessing, and lonely people are different from Mourning for the Past. Not only the structural style is different, but also the pitch rhythm is different. Kong Yiji is so simple and cold, while Mourning for the Past is so tortuous and profound. Lu Xun's novels are novels and poems, with deep artistic conception, cold outside and hot inside, and the use of national language skills to achieve perfection.
While creating Scream and Wandering, Lu Xun also created a collection of essays, Flowers in the Morning and Flowers in the Evening, and a collection of prose poems, Weeds. The former was published in 1928 and the latter in 1927. If the novels in Scream and Hesitation are Lu Xun's grim portrayal of real social life and are intended to alert the sleeping people, then the prose in Morning Flowers is Lu Xun's warm memories and deep memory of the people and things that nourished his life. When I was a child, Mr. Fujino, the nanny's mother, gave him sincere care in a discriminated environment. Fan Ainong, an old friend with a rough and arrogant life, gave him a "Herbal Garden" full of infinite fun, as well as folk dramas and folk entertainment activities that attracted his curiosity ... All these revealed bright colors and warmth in this sinister world background, which nourished Lu Xun's life. These essays are lyrical, narrative and argumentative, sometimes like a calm harbor, sometimes like a rolling sea, sometimes like a rushing river, and sometimes like a winding stream, which embodies the artistic achievements of Lu Xun's prose creation. Different from the clear and meticulous prose in Morning Flowers and Evening Picks, the prose poetry in Weeds presents an ethereal and fantastic artistic conception. They are like clouds of emotion, spinning and floating in the air, changing into various unexpected shapes. Lu Xun's inner anguish turned into a dream and a transcendental imagination, which made Wild Grass a wonderful flower in China's modernist literature. Lu Xun once said to others, "My philosophy is all in Weeds." Lu Xun's deepest emotional experience and the most mysterious philosophical sentiment are conveyed through this peculiar artistic means. Lu Xun's artistic creativity is amazing.
Lu Xun's essays should first fully reflect his creative spirit and creativity. "Essays" have existed since ancient times, and similar examples can be found in foreign essays. However, only in the modern cultural history of China, in the hands of Lu Xun, did the "essays" show its unique artistic charm and great ideological potential. Lu Xun's essays can be said to be an "epic" of China's modern culture, which not only recorded Lu Xun's fighting achievements in his life, but also recorded the ideological and cultural history of China at that time. When modern intellectuals in China want to create a new culture and new ideas suitable for the modern development of China, they are slandered and attacked by different classes, different figures, different angles and different ways. Lu Xun's essays are naturally formed in this ideological and cultural struggle with no fixed front and no fixed enemies. From the May 4th Movement, Lu Xun began to struggle against various arguments against the new culture in the form of essays, but he was not conscious at that time. Later, some people began to laugh at him as an "essayist", and he became more aware of the power of "essays" and began to consciously engage in essay creation. Lu Xun said that essays are "nerves of induction" and can "react or fight against harmful things immediately", thus opening up a tortuous road for the development of new culture and new ideas in the thorns of old culture and old ideas, so that they can exist, develop and grow. Lu Xun wrote 65,438+in his life, such as Grave, Hot Wind, Collection of Gai Hua, Collection of Continued Covering Flowers, Three Ji Xian, Collection of Two Hearts, Mobilizing the South to the North, Pseudo-Free Book, Quasi-Romantic Talk, Lace Literature, Essays on Street Pavilion, etc. There are ruthless revelations, angry accusations, sharp criticisms, bitter satires, witty humor, meticulous analysis, decisive judgment, passionate expression, painful cries, cordial encouragement, enthusiastic praise, brush strokes, flying words and various forms and changes. It freely and boldly expresses the feelings and emotional experiences of modern people, and opens up a broader road for the development of China's prose. The status of Lu Xun's essays in the history of modern literature in China is undeniable.
In his later years, Lu Xun also completed a novel collection, New Stories (published by 1936). This collection of novels is based on China's ancient myths and legends and historical facts, but it does not stick to the original story, but adds Lu Xun's own understanding and imagination, and some of them also adopt the writing technique of blending ancient and modern, so that ancient people and modern people can have a direct dialogue. The purpose of Lu Xun's doing this is to let us feel and understand the true face of some real people through the feelings and understanding of real people and the ancients. Through the novels in New Stories, Lu Xun actually reconstructed the cultural history of China, revealed the foundation of the existence and development of the Chinese nation, and reshaped the image of historical figures sanctified by feudal literati in China. Mending the sky can be regarded as a "genesis" of the Chinese nation. In Lu Xun's view, it is not the ancient sages and emperors who truly embody the fundamental spirit of the Chinese nation, but the Nu Wa who created the Chinese nation. She is the source and symbol of Chinese national vitality. Running to the Moon is about the tragedy of an ancient hero, which saved mankind in nine days, but those selfish and narrow-minded people don't want to inherit and carry forward his heroic spirit, just want to use him to achieve their selfish and narrow-minded goals. He was assassinated by his own students and abandoned by his wife. Casting Sword shows the theme of revenge of the oppressed on their oppressors. "Water Control" and "Non-attack" praised the politicians and thinkers who practiced in ancient China. Yu He is the backbone of the Chinese nation. Confucius, Laozi, Zhuangzi, Boyi and Shu Qi, historical figures, have really become funny but still lovely living figures in Lu Xun's works. Lu Xun's New Stories expresses serious themes in an absurd way, and creates a brand-new way of writing historical novels.
Lu Xun has his own brand-new creations in short stories, essays, prose poems, historical novels and essays. His life is a life of struggle for the survival and development of the Chinese nation. He used his pen to maintain social justice, resist power, protect youth and cultivate new forces. In the early stage, he enthusiastically supported the just struggle of young students, exposed the criminal acts of the Duan government in suppressing the student movement and creating the "March 18th" tragedy, and wrote a series of shocking articles such as "In Memory of the King". Later, he opposed the Kuomintang government's bloody suppression of * * * producers and progressive youth, joined the League of Chinese Left-wing Writers and the League of Civil Rights Protection, and wrote a series of articles full of righteousness and justice, such as Commemorating Forgetting. "Lu Xun's bones are the hardest. He's not servile. This is the most precious character of the colonial and semi-colonial people. " (Mao Zedong: On New Democracy)
1936 65438+ 10/9, Lu Xun died in Shanghai. Thousands of ordinary people came to see him off, and his coffin was covered with a banner with the words "soul of china".
Before he died, he made his last words: "First, you can't charge any money for the funeral, except for friends. Second, quickly converge, bury and pull down. Third, don't do commemorative things. Fourth, forget me and mind your own life. If not, it is really a fool. When a child grows up, if he has no talent, he can find something small to live on, and never be a short writer or an artist. 6. Don't take others' promises to you seriously. 7. Never approach a person who hurts others' teeth but opposes revenge and advocates tolerance. " Shakespeare said: "A person's last words, like deep music, have a natural power to attract attention. "
Lu Xun wrote and translated nearly 6.5438+million words in his life, including * * * 654.38+06 essays.
family background
Date of birth: the third day of August in the seventh year of Guangxu reign (188 1 September 25th).
Birth place: Zhou Jia, Xintaimen, Dongchangfangkou, Huiji County, Shaoxing Prefecture, Zhejiang Province, formerly known as Zhang Shou, whose name is Yushan, Yuting and Yucai. At the age of 38, he took Lu Xun as his pen name.
Grandfather Zhou Fuqing (1838- 1904), formerly known as Zhou Zhifu, also known as Fu Jie. During the ten years of Tongzhi in Qing Dynasty (187 1), Sinvik was a scholar in imperial academy, Jishi Shu. He used to be the governor of Jinyu County, Jiangxi Province, and now he is the cabinet secretary in Beijing. Later, he served as a cabinet book.
Father Zhou Boyi (186 1- 1896), whose real name is Boyi, later renamed as Yu Wen, is a scholar and lives at home.
Mother Lu Rui (1858- 1943), a local juren with three daughters, was born in an official family in Anqiaotou, a suburb of Shaoxing. She never studied, but she gained the ability to read books through self-study.
Family:
In Shaoxing, the Zhou family is a noble family. Not to mention being an official and doing business, the population growth alone is considerable, so by the time Lu Xun was born, the Zhou family had separated in three places and looked after each other, just like a big family. Lu Xun's grandfather Zhou was born in Hanlin. He worked as a magistrate in Jiangxi, then went to Beijing as a cabinet official and became a standard Beijing official. Shaoxing is not a big city. People like Zhou who are both academicians and Beijing officials can naturally win the respect of ordinary citizens. That quot talks about Zhoujiamen; The calligraphy "Hanlin" horizontal plaque clearly declared the special status of the Zhou family. Lu Xun is really lucky. The starting point of his long life journey is located in such a place that seems quite convenient from Xanadu.
This enabled Lu Xun to obtain a series of conditions that children from poor families could not enjoy. Forty or fifty acres of paddy fields at home, that is, Zhou Jie has never remitted a penny from Beijing, and his daily livelihood is always more than enough to drive poverty away from him. The Zhou family pays attention to reading, and Zhou Jie even lets his children and grandchildren take the Hanlin exam together, and hangs a memorial tablet ambition of Uncle Hanlin between the grandparents and grandchildren. The atmosphere of scholarly family is naturally quot strong. Lu Xun's family has two bookcases, from Notes on the Thirteen Classics and Four Histories to Wang Yangming's Complete Works of Literature, History and General Meaning, from Interpretation of Ancient Poems and Collection of Tang Poems to Scholars, Learning from Scholars in Imperial Examinations and Great Unity. Among many relatives, many people also have a large number of books, not only those boring and difficult to understand, but also many interesting books, which make children very happy, from the illustrated "Flower Mirror" to the "Dream of Red Mansions" describing boys and girls.
On one occasion, a relative even allowed Lu Xun to rummage freely in a small room full of miscellaneous books. How amazing the expression on his face will be when he opens the door! From the age of six, Lu Xun began to study, first with his relatives, and then he was sent to the most famous city in Shaoxing, San Tan Yin Yue, to read classics, Analects of Confucius, Mencius ... and even the ancient and difficult exegetical work Er Ya Yin Zhi was reread under the guidance of the teacher. Naturally, if he wants to say it himself, he certainly won't be happy with such reading. But children don't have to worry about food and clothing when they are born, and they are influenced by scholarly family. Under the guidance of teacher Fu Xue, he can read books every day and buy his favorite books with lucky money. This is really the best condition that children in that era can enjoy.
China is a country that pays attention to patriarchy. You were born in a wealthy family where only parents were rude and overbearing and regarded children as private property. If you meet such parents, your childhood will still be ruined. What about Lu Xun's luck? Although Zhou has a bad temper and sometimes scolds children, he is quite open-minded in teaching Lu Xun to read. At that time, children in ordinary families read the Four Books and Five Classics directly, and let a six-year-old read Learn from Time to Time every day. How painful will he be? Zhou asked Lu Xun to read history first, starting with Introduction, then the Book of Songs, and then to The Journey to the West, all of which are books that children are interested in. Even when reading Tang poems, I chose Bai Juyi's relatively simple poems first, and then read Li Zicheng and Du Fu, which greatly relieved Lu Xun's enlightenment depression. Grandma loves him very much. Every summer night, Lu Xun was allowed to lie on a small board table under a big laurel tree, shaking a banana fan and telling him stories in the cool breeze. What cat is the owner of the tiger and what fairy saved the white snake? Lu Xun clearly remembered the fun and ease at that time until his later years. Zhou Boyi, Lu Xun's father, is serious, but gentler than his grandfather. Although his family education is strict, he never hits his children. Lu Xun remembered one thing in the article "Five Cabins Meeting" in "Flowers in the Morning", that is, he was forced to endorse at such a happy moment as Lu Xun in Xiao Lu. But in fact, Zhou Boyi usually doesn't supervise his sons' reading. They tend to be more tolerant in daily discipline. On one occasion, Lu Xun and his younger brother secretly bought a copy of The Flower Sutra, which was discovered by Zhou Boyi. They are scared and desperate, because it is a casual book, and children are generally not allowed to read it: "Oh, no, it must be confiscated now!" " Unexpectedly, Zhou Boyi turned over a few pages and silently returned them, which made them overjoyed. From then on, they bought idle books without worrying, just like thieves. As for mother Lu Rui, her love for him is not to mention. Among several children, her favorite is Lu Xun. In terms of human feelings, parents always love their children. However, due to the bad habits passed down from generation to generation in China, this kind of parental love often turns into cruel destruction of young minds. Of course, it can't be said that Lu Xun was not destroyed like this. He will write "Club No.5" in the future, which shows that he has deep scars in his heart. But on the whole, he is still very lucky. At least in childhood, he was often bathed in the care of gentle and generous elders.