Realist in pastoral pastoral
From Herb Garden to San Tan Yin Yue is the first work I read by Mr. Wang. It is humorous and full of fun. The stories of vegetable beds, Shi Jinglan, Gleditsia sinensis, Mulberry, wasp, son of heaven and human Polygonum multiflorum Thunb, as well as the stories of red snake and beautiful snake told by my eldest mother, have aroused the farthest and deepest reverie in my childhood. This was the rural life at that time. The article is natural, just like the vegetation in the garden, with lush foliage and all kinds of exotic flowers and herbs, which are picked at will. This kind of child's vision of observing things creates a tension that is dizzying. The leap soil in "Hometown" is a long-distance traveler who always looks forward to the sudden arrival, catching birds, picking up shells and guarding watermelon fields with interesting things from his hometown, and a beautiful world illuminated by a song "Golden Full Moon". There is also a "social drama", in which a group of naive children go to the theatre with boats. "The fragrance of beans and wheat on both sides of the strait, the water plants at the bottom of the river", the dark mountains, the faintly visible mountain villa, the baby's horn sound and the joy of boiling beans have all become beautiful scenery in our memory.
Lu Xun painted a beautiful childhood picture for China children after many years with his unique and exquisite brushwork, but he practiced and recognized the so-called hometown feelings with his loneliness. The reflection on reality hidden in this homesickness is a deeper sense of historical mission and life analysis, and it is my experience of reading Mr. Wang's works after a long time, thus subverting the thoughts that were placed in a period and era.
From a Hundred Herbs Garden to a Three-Pond Moon, which is selected from Lu Xun's collection of essays, is one of the rare fairy tales and a classic reading in children's education. The flowers, birds and animals in the Herbal Garden and the heads bobbing in the reflection of the moon in the three pools all adjust the dizzy tension with humorous style, ending with the feeling that "this thing is long gone" at the end of the article, giving people a sense of stage and fuzziness of memory and moving on with irreparable sadness. In retrospect and reality, it highlights the sadness of life, which is the embodiment of "intersexuality" in Lu Xun's thought. He is a generalized poet who "feels the whole world, but at the same time understands the bliss of heaven and the great distress of hell". He denied the historical development and social formation, refused eternity, denied the "solidification" and "immortality" of history and social life, and created an unprecedented sense of reality and isolation. This "middle" view has created a huge gap between the memory and reality of Baicaoyuan and Santan Yinyue, putting people in a position.
Hometown, one of the novels of Scream, combines the fictional author with reality, which makes people have to doubt the unity of the author and the characters in the novel, and it is full of strong lyricism, which makes this Homecoming Poetry shape a fairy tale-like lyrical world. In the so-called "leave-return-leave again" construction mode, the pastoral feelings are completely shattered in the voice of "grandpa", and the departure of "I" and the departure of the leap soil are mutual witnesses and deviations. Lu Xun is a writer who really understands the peasants' hearts. This description of farmers' individual life consciousness implied in the text permeates in silence and is a destructive understanding of reality in calmness. When people are deeply moved by the beauty of the countryside, they have to face up to reality. Compared with the fairy tale world constructed by classical literature, Hometown is more modern, and it describes the sorrow that was destroyed in the flawless fairy tale world. His description of the split and opposition between the real world and childhood experiences, the collapse and degradation of the pure and beautiful fairy tale world of childhood in the real world, and the lyrical pursuit of the imaginary world illuminated by the' golden full moon' are actually aimed at guiding people's attention to a deeper and more painful reality. The countryside is a world without strangers. Just like the "I" in Blessing and Social Drama, Lu Xun discovered and observed the "strange" "hometown" from the perspective of a stranger. It is an eternal redemption of reality, taking care of the negative imagination of reality, and is located in this strange but lonely place in an idyllic style, which is extremely superb. This kind of realism is different from direct sketch, and it is the fairy-tale imaginary world that deepens the depth of reality. Fantasy and reality are in chaos. From "running away from home" to "dreaming of homesickness", "My current story" is always unfolded under the tension of "psychological homecoming" and "reality homecoming", which is bound to be a process of separation between fantasy and reality, and the pain of separation and the "golden full moon" set each other off in interest.
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.
When Lu Xun paid attention to individual life experience, he felt great loneliness. This loneliness is reflected in the regret of the past, not only because the world doesn't understand Juansheng and Zijun, but also because they can't communicate with each other, so individualism is reduced to deep doubt and despair of the "Enlightenment Dream". This deep consciousness and potential psychology make warm words surface with deeper thinking. The liberation of personality spirit is inseparable from the struggle to change the social system. But Lu Xun fundamentally denied the humanitarianism of sacrificing one's will and personality for "love", and Juan Sheng also said that "love must be attached to beauty", which not only comes from the economic needs of real life, but also should be grasped by the self-existence of both sides. This hope seems to be dashed in an instant, and the tragic protagonist himself is already with. According to Lu Xun, individualism and humanitarianism are irreconcilable. In this interweaving of despair and hope, Lu Xun believes that the two should coexist and oppose each other, choose people who can be used, love them deeply and hate them. Lu Xun is not a "universal lover" and advocates the humanitarianism of "everyone is a brother". He is not a purely romantic individualist. He denied both humanitarianism and individualism divorced from humanitarianism. It is in the interweaving of individualism and humanism that Lu Xun, who is in the middle of despair and hope, still tirelessly realizes the enlightenment to himself and society. The death of Zijun and the regret of Juansheng, now it seems, are also the inevitable historical fate choices of the enlightener, with inevitable isolation and contradictions.
As an enlightener between despair and hope, Lu Xun also gritted his teeth and chose history. He never denied or concealed the contradiction and fragmentation of his thoughts, but internalized love and sorrow, making "love" and "death" eternal opposites, and once again threw himself into the wasteland of history and shouldered the responsibility of enlightenment alone. Mr. N's rage in The Story of Hair, Wei Lianzhi's pain in The Lonely Man and Lu's regret in Restaurant all show the pioneer's deviation and reversal of social history, but this deviation has not been completely restored. Faced with this loneliness, the pioneers in extreme isolation either died in despair or drowned in hope. This profound sense of historical mission, in Lu Xun's silent enlightenment works, is borne by himself. This loneliness and loneliness is a hardship to despair and hope. He once mentioned in the preface: "I had many dreams when I was young, but most of them were forgotten later, but I don't think it's a pity." The so-called memories can make people happy, but sometimes they can't help being lonely, so that the silk thread of spirit still holds the lonely time that has passed away. "The gift of history to the pioneers is entirely borne by the self.
"Despair is illusory, just like hope". Mr. Wang refuses to be perfect and complete, and is skeptical about the development of history, the changes of society and the extreme situation of life. At the same time, he refused to reconcile personality and humanity, practiced self-enlightenment and social enlightenment in deeper pain and loneliness, and realized the exploration of truth in despair and hope. "If you lose a child, you will be virtuous, and if you keep a child, it will be empty." .
Dancer of the dark soul
This is a simple story. At first, it was just a strange myth with obscure language. Eyebrow ruler's head battle with the king of Chu and the "men in black", as well as those strange songs, have added a lot of strange illusions. The legend of revenge for father is not uncommon in China. After being named loyalty and filial piety, he finally indulged in the torrent of history and never heard from him again. Casting Sword seems to have devoted great efforts to Mr. Lu Xun, but in the end, it was unexpected that it was a masterpiece of Mr. Lu Xun to explore the human soul, reflect on human nature and protect loneliness. Its avant-garde artistic connotation still benefits many writers.
The simple story of a son's revenge for his father, with the appearance of "men in black", gradually entered a complex whirlpool. Lu Xun spent a lot of time writing about the indecision between his eyebrows, which made it impossible to get revenge on him. In this dilemma in the real world and the inevitability of revenge fate, it is logical to have a banquet. His mystery brings people into another revenge situation, that is, self-revenge pointing to the depths of the soul of all mankind. Let's look at the king of Chu, a ruthless representative. But in order to eliminate hostility, he also got rid of the realistic predicament and used the evil sword, but what increased was a new round of killing and revenge. This absurd narrative is expressed through exquisite brushwork. The birth of "Mo Xie Jian", bloody positive revenge, mysterious and eccentric Chu songs all make people have to sit up and take notice of this strange man in black. His words and actions are full of rejection of worldly life and death, personal body and cold determination. Lu Xun once paid attention to his "ideal humanity". "What is yours is mine, and he is mine." His coldness and mystery can only be placed in the concept category in the absurd narrative of his works, which is essentially a manifestation of falling into nothingness. The concern and discussion of human nature has always been the focus of Lu Xun's thought, which also makes it his most avant-garde value connotation.
The soul self of human beings, like the brow ruler and the king of Chu in casting swords, must have two extremes: love and hate, good and evil, light and darkness. However, these extremes are irreconcilable. The inevitability of revenge has the tragic fate of ancient Greek mythology, and the character makes it have the tragic character of Shakespeare's plays. Double revenge makes people pay more attention to it and devote themselves to their own experiences. The two poles of the soul exist in the same individual and in the same life. Lu Xun turned his attention to the deepest part of the whole human soul and showed the ideal world of human existence through an absurd narrative latitude, which is of great modernity and pioneering significance. At the same time, this revenge on self and the grasp of the world of existentialism are grasped through absolute deification, which deepens Lu Xun's nihilistic spirit of self. Yan Ao said, "Loyalty and compassion, those things, which were cleaned before, have now become the capital for putting ghost debts. I don't have what you call, I just want to avenge you. " The ultra-purposive realism put forward in Casting Sword, as Kant said: "In this society, the purpose of doing good is not pure, but the pure motivation is the commitment from the other side." He believes that it is impossible for a limited individual to know the infinite world, and the recognition of the lofty pursuit of "revenge" comes from an impossible bridge between this shore and the other shore. In this way, revenge is marked with the banner of nihilism. Self-revenge comes from the understanding of nothingness, and nihilism also comes from the torture of self-soul. This extraordinary spirit of self-sacrifice and martyrdom consciousness is Lu Xun's deeper understanding of his position in the social and cultural form than his contemporaries. The sense of nothingness and loneliness he expounded is not a class or an era, but the sorrow of all mankind from ancient times to the present.
This nihilism is not only prominent in Casting Sword, but also occupies a very important position in Lu Xun's most representative prose poetry collection Weeds. The shadow in Farewell to the Shadow shows three essential characteristics, among which the introspection and doubt about its own nature show the panic and absurdity from people's hearts. The logical dilemma between the hero's ego, society and personal existence is the nothingness that this shore cannot lead to the other shore, and the revenge for "endless" is also deeply reflected in his other works. Wei's revenge in The Lonely Man is at the cost of self-destruction and distortion. Revenge and revenge II in Weeds are full of absurdity and will certainly be struggled by his soul. In the process of pursuing worldly perfection, the greatest enemy should come from self, and the condemnation of ideas is nothing in reality, but it is with this profound revenge and analysis of nothingness that Lu Xun created a great understanding that should not have existed in that era. Revenge and nothingness bring him more absolute loneliness.
"He once regarded himself as a passer-by from the Middle Ages to modern civilization, a middle figure with a sense of mission", "He tried to liberate himself from the alien environment, so that he no longer belonged to the inhuman kingdom of will, but an independent subject with free consciousness and good will". This sense of historical mission has enabled Mr. Wang to create extraordinary artistic achievements, and at the same time put himself in a darker and lonely world, looking for light in self-nothingness and revenge.
Can Xue said: Art is the dance of the dark soul. From revenge to nothingness, Mr. Lu Xun revealed the existence state of the whole human soul, which has profound connotation and philosophy. This kind of watch over the lonely people is like dance music in the dark, leaving art to future generations in pain.
Those ideas about love and hate, darkness and light, art and life have gradually matured and changed with our experience. When I was a child, I saw Mr. Lu Xun, which is a slightly sad children's song, but it has another quality of innocence and beauty; I read it a long time ago, sir. At that time, a radical and highly patriotic song was deep but meaningful. Now, Mr. Reading is a drama that tortures the soul and reality. It is painful and profound, just like the sound of weeds in the vast desert, and the color of life is only faintly visible. I can only write down my understanding and views at this moment, which may be short-lived or superficial, but just like Mr. Zhang's commitment to history, there is truth in nothingness.