Seeking Truth in Youth 188 1 September 25th (the third day of August in the seventh year of Guangxu in Qing Dynasty), Lu Xun was born in a declining feudal family in Shaoxing County, Zhejiang Province. Zhou's grandfather is an official in Beijing. Father Zhou Boyi is a scholar. Mom, Lu Rui can read by herself. Lu Xun was educated by traditional feudal culture since he was a child, but he had a wide range of reading interests, and read a lot of unofficial history's miscellaneous notes, especially those full of democratic ideas and patriotism. I am also deeply interested in folk art.
1893, Lu Xun's grandfather was arrested and imprisoned, and his family was discriminated against and bullied by relatives and friends. Soon my father became seriously ill and died on 1896. Lu Xun, the son of Zhou parents, was well-off but fell into poverty, which made him "see the true face of the world". Because his mother is a countryman, he has the opportunity to get in touch with rural society and get along closely with farmers' children, from which he can know the hardships of farmers' oppression and their industrious and simple character. These experiences had a far-reaching impact on his later ideological development and novel creation.
After the Sino-Japanese War, the "New Deal" of Westernization went bankrupt and the bourgeois reform movement rose. Lu Xun was dissatisfied with the traditional feudal "right path" and determined to "find another way to escape from other places" 1May, 898, went to Nanjing to join Jiangnan Naval Academy. In February of the following year, he was transferred to the Mining and Metallurgy School affiliated to Jiangnan Lushi School. Because the general manager (principal) is a reformist, the atmosphere of reading new books in the mine road school is very prosperous. Lu Xun often reads the Compilation of Translation Studies and some translations of modern science, sociology and literature in Western Europe, among which Huxley's Evolution translated by Yan Fu in Britain has the greatest influence on him. He accepted the enlightenment of evolution, and later studied other works on evolution, and used it as the main ideological tool and weapon for observing social phenomena and fighting against feudalism for a long time. During his four years in Nanking, earth-shaking changes have taken place in China, the Reform Movement of 1898 failed completely, the Boxer Rebellion was suppressed, and Eight-Nation Alliance ravaged the whole country, all of which prompted Lu Xun to seek fresh knowledge and the truth of saving the country more urgently.
1902 65438+ 10, Lu Xun graduated from Kuangshan Road School. Go to Japan to study. In April of the same year, I went to the Jiangnan class of the comprehensive department of Hongwen College in Tokyo to study. At that time, China's bourgeois revolutionaries were carrying out anti-Qing activities in Tokyo, and the overseas students were divided into anti-Qing factions and royalists. Lu Xun often attended anti-Qing rallies, read a large number of books on modern science, philosophy and literature after school, and began to consider transforming the national character. He resolutely cut off the braid symbolizing the rule of the Qing Dynasty and wrote a poem on the broken photos: "I recommend Xuanyuan with blood", which showed his determination to swear to devote himself to the liberation of the motherland. During this period, he published the novel Soul of Sparta adapted from foreign works, the paper On Geology of China and Shuo□, co-edited the monograph on the distribution of geology and mineral resources in China with friends, and also translated the science fiction novels Journey to the Moon and Underground Travel, which further demonstrated the young Lu Xun's enthusiasm for science and strong patriotism.
After graduating from Hongwen College, Lu Xun entered Sendai Medical College on September 1904. He is determined to study medicine, hoping to use new medicine to "promote China people's belief in reform". He studied hard and got the care and help of his teacher Fujino Genkuro. Soon, on the slide of the Sino-Japanese War, he saw a Japanese who was a detective for the Russian army, and the Japanese bystanders were indifferent. This makes Lu Xun feel bitterly that medicine is not important, even if he is strong and unconscious, it will not help. At that time, he thought that the most important thing was to change people's spirit, and literature and art were good at changing people's spirit, so he decided to give up medicine and join literature and returned to Tokyo in the spring of 1906.
At that time, in Tokyo, revolutionaries represented by Sun Yat-sen and Zhang fought fiercely with royalists such as Kang Youwei and Liang Qichao. Lu Xun studied under Zhang Taiyan, and later was closely dispatched by revolutionaries such as Tao, and became a member of the Guangfu Association, an anti-Qing revolutionary organization. 1907, he was going to start the literary and artistic publication "New Life", but he failed in the end. Lu Xun felt lonely for this, but he was not discouraged. He published History of Human and History of Science, introducing Darwin's theory of biological evolution and the evolution of western scientific thought. He also published "On Cultural Bias" and "On Moro's Poetic Power", analyzing the historical characteristics and bias of the development of western capitalist culture, emphasizing the need to compete with "other countries" and holding that "people should be established first, and then things should be done"; In order to cultivate people, we must oppose the feudal traditional thought, "not seeking new voices from foreign countries" and advocate the fighting spirit of "taking resistance as the purpose and action as the direction", so we vigorously introduced the rebellious "Moro" poetry school headed by Byron. Lu Xun also translated and published a collection of foreign novels with Zhou Zuoren, introducing oppressed peoples in Eastern Europe and Russian realistic short stories. During his seven years in Japan, Lu Xun extensively dabbled in foreign natural science, social theory, literature, art and philosophy, and began to form early social thoughts and literary thoughts, becoming an anti-imperialist and anti-feudal revolutionary democrat, determined to use literature as a weapon to fight for the independence and freedom of the motherland and the ideological liberation of the people.
1in August, 909, Lu Xun returned from Japan. He first taught in two-level normal schools in Hangzhou, and then in the middle school attached to Shaoxing. 19110 In June, the Revolution of 1911 broke out and Lu Xun greeted it with warm feelings. After the recovery of Shaoxing, Lu Xun became the principal of Shaoxing Normal School. It was the winter of 2008, and he wrote a short story "Homesickness" in classical Chinese.
19 12 1, the provisional government of the Republic of China was established in Nanjing. At the invitation of Cai Yuanpei, chief education officer, Lu Xun went to work in Nanjing Ministry of Education in February. In May, he moved to Beijing with the government and worked as a section chief and clerk in the Ministry of Education, in charge of libraries, museums and art education.
The Revolution of 1911 did not complete the task of anti-imperialism and anti-feudalism, and the achievements of the revolution were usurped by Yuan Shikai, and then ugly dramas such as the restoration of monarchy occurred. Warlords scuffled and the situation in the country deteriorated day by day. Deeply disappointed with the state affairs, Lu Xun collated and collated ancient books, read Buddhist scriptures, copied ancient monuments and collected rubbings of epigraphy in his spare time. In the historical gap between the old democratic revolution and the new democratic revolution, Lu Xun experienced profound ideological contradictions and pains, and continued to resolutely explore new social and revolutionary roads. Raise the anti-imperialist and anti-feudal cultural banner 19 17 Russia won the October socialist revolution and brought Marxism-Leninism to China. 19 19, the may 4th movement broke out in Beijing, and the revolution entered a new democratic period. Inspired by the new trend of the times, Lu Xun devoted himself to the May 4th New Literature Movement with the desire to destroy the feudal "iron house" and awaken the sleeping people, and soon became the great standard-bearer of the new culture army led by the proletariat.
19 18 At the beginning of this year, Lu Xun participated in the editing of "New Youth" edited by Chen Duxiu, and was at the forefront of the great struggle of advocating democratic science and opposing the old ethics and old literature. In May of the same year, he published his first vernacular novel, Diary of a Madman, which described the psychological activities of a mental patient who was persecuted, confused the sober description of social life with the description of a madman's unique inner feelings, exposed the feudal "malpractice of family system and ethics", and pointed out that the history of China society was a history of cannibalism. This is the first "cry" against feudalism completely, and it is also a new beginning in Lu Xun's battle history. Then, Lu Xun also published more than a dozen novels, such as Kong Yiji, Medicine, Hometown, The True Story of Ah Q, and then compiled the first collection of short stories, Scream, which was published on August 1923 (see the first edition of color pictures, Scream and Wandering, and Cheng Shifa's Lu Xun's novel Kong Yiji The Scream reflects the society of China around the Revolution of 1911 to the May 4th Movement, especially the ancient villages and towns that gradually went bankrupt under the oppression of imperialism and feudalism. Shaped the image of declining intellectuals, urban poor, rickshaw pullers and oppressed farmers. It excites the hearts of young readers with its "profound expression and special format" and "shows the achievements of the literary revolution". Lu Xun was an outstanding representative who chose the excellent elements of China tradition and adopted foreign good rules to create modern novels, and became the great founder of modern literature in China.
Kong Yiji described a scholar who failed to be admitted to a scholar, critically revealed the tragic character of the character, and expressed the author's strong criticism of the cultural and educational system that caused this character. Medicine describes the sacrifice of Yu Xia, a revolutionary, and the ignorance shown by Hua Laoshuan, the owner of the teahouse, in order to cure his son's illness, and is linked by medicine, a steamed bread dipped in revolutionary blood. The works profoundly reveal the gap between revolutionaries and the masses and the tragedy of the bourgeois old democratic revolution. Finally, the wreath in front of Yu Xia's tomb implies that there are successors to the revolution, which adds optimism to the works. A Little Thing describes the behavior and character of working people and intellectuals through an accident I met in a rickshaw, and touches on the important idea that intellectuals should learn from working people. What occupies an important position in Scream is the works depicting rural life and the image of farmers. "Hometown" describes the bleak life scene of the rapid bankruptcy of rural areas in old China through the experience and memories of "I" returning to my hometown. Runtu used to be a little hero full of energy, but under the heavy pressure of soldiers, bandits, officials and gentry, he once became a mentally numb person. The author was filled with grief and indignation, and made a heavy accusation against the social forces that caused this tragic picture. At the same time, he hoped that the persecuted people would wake up and open up their own way of life: "There is no road on the ground, and more people will become roads."
The True Story of Ah Q is the representative work of Lu Xun's novels. It takes the countryside before and after the Revolution of 1911 as the background, and creates the image of A Q, a poor farmer who is deeply poisoned by the spirit. Ah Q suffered heavy exploitation and oppression, but he was always superior in spirit. He boasted about the past, fantasized about the future, comforted himself, belittled himself and never faced up to the harsh reality. In addition, he was infected with the vagabond's cunning. The novel focuses on the performance and fate of Ah Q in the Revolution of 1911. He thought revolution was "rebellion" and hated it, but the panic of feudal rulers made him happy and demanded revolution. However, this revolution ignored the power of farmers and colluded with the feudal class. Wei Zhuang business as usual, only Ah Q was arrested and shot. This ending is a thorough criticism of the Revolution of 1911 and its leaders. The novel created an immortal image of Ah Q, which reflected the historical lessons of the Revolution of 1911, and thus put forward a serious topic to stimulate farmers' democratic consciousness. Because the peasant problem is the basic problem of China's democratic revolution, Lu Xun's profound reflection on the peasant problem was of great practical significance at that time. The Revolution of 1911 did not bring real changes to the countryside, and the problem of farmers' enlightenment education still needs to be solved. This is also reflected in the storm. In addition, what reflects the life of farmers is social drama, which describes the beautiful childhood that has passed away and praises the simple heart of farmers.
When describing the unfortunate experiences of the oppressed people, Lu Xun often expects them to stand up and struggle, and at the same time exposes the cruel rule of the feudal class and feudal thoughts with great anger, showing that the author is a revolutionary democratic writer who stood up from the oppressed people. He reflected the profundity of the peasant problem and the thoroughness of anti-feudalism, which China's past literary works failed to achieve.
Lu Xun is also the pioneer of China's modern essays. During the May 4th Movement, he wrote many miscellaneous feelings and essays, most of which were published in New Youth and later included in Hot Wind and Grave. These works are sharp, pungent and vivid, and have extensive social criticism. Some severely criticized feudal patriarchal ideology and chastity concept; "Have a plenty of hair for Fu Ying, sit-in, boxing; Some are issued for the so-called "preservation of national essence"; Some are proud of the experience of the old bureaucrats at that time; Some of them are caricatures of the Shanghai era (Hot Wind Ming). They always put the survival and development of China people in opposition to the old culture and morality advocated by the old school. Sometimes the development of life is used to demonstrate the necessity of social reform, and new things are used to oppose all feudal old things, thinking that the purpose of social reform can be achieved by stimulating people's consciousness. These essays, with their eclectic forms and hot and cold styles, reveal the philosophy of life by attacking the current politics and lashing customs, and combine poetry with political theory, which is called "Lu Xun style" by later generations. Lu Xun's essays have created a new trend of modern essays and influenced generations of essay writers. The True Story of Ah Q is illustrated by Zhao Yannian.
Lu Xun is a sober realist. He boldly faced up to various contradictions in reality, and his novels and essays reflected extremely profound and true historical content. He has a deeper understanding of everything in old China and the traditional forces and thoughts that have lasted for thousands of years than many people of his time. He comes from the old camp and stands on the position of an uncompromising revolutionary. Abandoning him can give a fatal blow to the old things. He is a great writer who exposes the old ideas of the old forces most profoundly and struggles most resolutely. His outstanding contribution to the history of China's revolution and thought was fully demonstrated in the May 4th Cultural Revolution. He exposed everything in the old society in order to attract the attention of the medical profession and promote social reform. He consciously "obeyed", and his works fully reflected the requirements of the thoroughly anti-imperialist and anti-feudal new-democratic revolution led by the proletariat, which played a huge fighting role at that time.
From the autumn of 1920 to the summer of 1926, Lu Xun taught in Peking University and Beijing Women's Normal University, and devoted himself to the systematic research and teaching of China's novel history. Later, he arranged his lecture notes into A Brief History of China's Novels and published them. It breaks the unprecedented situation of China's novels and is a groundbreaking academic work. Lu Xun is also engaged in translation introduction, publishing Russian and Japanese literary creation and literary theory translation. He also supported young people's literary and artistic activities and helped them to study and fight, thus becoming a beloved mentor of progressive youth.
The May 4th New Culture United Front was gradually split after the establishment of China * * * Production Party in 192 1. At this time, the revolutionary center moved south, and the cultural circles in Beijing seemed lonely and desolate. Lu Xun felt that "I have become a wanderer, and I can't make a cloth." He hesitated to explore, but he continued to fight. Illustration of Zhang Shouyi's Mourning for the Past
From 1924 to 1925, Lu Xun continued to write 1 1 short stories, such as "Blessing" and "Mourning the Past", and compiled the second novel collection "Lu Lu badminton", which continued to reflect the social reality before and after the Revolution of 1911 and before the First Revolutionary Civil War. Blessing describes a kind and quiet working woman, Sister Xianglin, who works in the home of Master Lu Si after being widowed, hoping to exchange her honest work for the minimum living guarantee. But she was soon forced into the mountains by her husband's family. The second time she appeared in Lujia, it was after her second husband died of illness and her son was taken away by wolves. Because she remarried and was widowed, Master Lu regarded her as an ominous thing, and she was not allowed to touch her hands or make sacrifices. Liu Ma was threatened, saw the punishment of the underworld, and asked her to donate the threshold to the underground as body double for atonement. She endured and struggled silently and donated the threshold, but the master still prohibited her from offering sacrifices. From then on, she lost her mind, quickly became a beggar, and died in the "blessing" street at the end of the year with fear and suspicion of the underworld. Sister Xianglin is the most tragic example of China people. She was deeply traumatized. Through her life, the novel reveals the extreme brutality and cruelty of feudalism and shows that the social environment has pushed the oppressed people to the wall. Divorced rural women love menstruation and are bold and provocative. Her husband is leaving her, and she has been making trouble for three years. However, they had illusions about the seven gentry who intervened. The novel centers on the scene where Aigu meets seven people, and from the reaction of seven people's affectation and mystery in Aigu's heart, it writes the profound weakness of Aigu's spirit and the resulting failure ending. This once again reveals the seriousness of feudal ideological rule and shows that the oppressed people must overcome their own weaknesses under enlightenment education in order to move towards a more determined and lasting struggle.
It is a very important subject to discuss the position and role of intellectuals in the democratic revolution and their life path under the split of new culture team. Lu Xun's Collected Works □ Lu Xun concentrated on describing the sufferings and struggles of intellectuals, reflecting the bankruptcy of their personal struggle. In Eating Out, Lu was originally an ideal and accomplished person, but after several twists and turns, he became a "perfunctory and vague" figure, spending his energy on meaningless things and being unable to extricate himself, losing all decision-making ability and fighting will. In Loneliness, Wei once claimed to be a new party and was hit hard by the dark society. Threatened by rumors and unemployment, he almost starved and begged. Finally, he compromised, practiced "everything he hated and opposed before", treated it with resentment and cynicism, and finally died alone with deep mental trauma. These two novels reflect the contradiction between the innovative power and the traditional power, and are full of the heavy historical atmosphere during the ebb tide of the revolution. With great anger, the author describes the experiences and pains of the characters, and at the same time criticizes their weaknesses. Zijun and Juansheng in Regret for the Past are young intellectuals who appeared after the May 4th Movement. They demanded the liberation of personality and freedom of marriage, and bravely rushed out of the old family. However, when they set up a new family, Zijun thought that the purpose had been achieved and indulged in the trivial matters of small family life. Once the blow of unemployment comes, Zijun is helpless and Juansheng is eager to save himself. So love finally broke down and finally had to break up. Zijun returned to his father's stern attitude and the cold eyes of others, and soon died. Juansheng fell into regret and sadness. He is hesitating and exploring, but where is the new way of life? He's still lost. This love tragedy shows that freedom of marriage and liberation of personality cannot be solved independently without social liberation.
Compared with The Scream, Wandering reveals the author's melancholy and wandering mood at that time, but his analysis and criticism of society are equally sober and profound. In terms of artistic skills, his grasp of the artistic form of novels and his portrayal of characters are more mature and profound than before.
Lu Xun is good at creating typical images in various ways, and uses the techniques of "making the finishing point" and line drawing to describe them. His artistic language is very concise, and his dialogue is short and vivid. His description is true and simple, showing the characters' personalities with approachable life scenes, without resorting to tortuous and bizarre plots. Luxun's novels show a calm and profound style, which is a peak of China's realistic literature.
Luxun's novels have brought profound changes to China literature. He is the first writer in the history of China literature who reflects the interests and demands of the oppressed peasant class. For the first time, he demanded that the feudal rule of China be fundamentally overthrown, and for the first time, he raised the issue of arousing the revolutionary enthusiasm of peasants and other oppressed people and improving their democratic consciousness. This is of great significance in the democratic revolution with the peasant problem as the basic problem. Another great achievement of Lu Xun's creation is that he profoundly showed the intellectuals' first awakening in China's democratic revolution with the truth of life, and also reflected their individualism and the weakness of their struggle. These great achievements were not achieved by other writers of his time.
Around 1925, the bourgeois right-wing intellectuals Hu Shi and others became increasingly conservative politically, but Lu Xun continued to fight in the cultural field. Join the Silk Society, organize and lead the Mangyuan Society and the unnamed society, support the Morning Post Supplement and Beijing Daily Supplement, and edit Mangyuan Weekly. In the struggle of female students in Beijing Normal University against President Yang Yinyu, he stood on the side of improving students, denounced the crime of suppressing students by Jiayin School and the argument of retro-ism, and exposed the oppression and rumors of Chen Yuan and others by "Modern Critics School". In the May 30th Movement and the March 18th Massacre,
He mourned the victims, summed up the lessons of the struggle, and made a serious protest against imperialism, feudal warlords and their cruelty. He pointed out: "Blood debts must be repaid with the same thing. The longer the arrears, the more interest you have to pay. " He called on young people to become real fighters and fight the enemy persistently and uncompromisingly. The essays in this period turned from extensive social criticism to fierce political struggle. On Feuerbach Should Slow Down is a movement against bourgeois liberalism and traditional moderation, and his proposition of "beating Reservoir Dogs" is of great practical significance. This shows that the radical revolutionary spirit of Mr. Lu Xun's tenacious struggle has reached a mature stage, which fully embodies the requirements of the new-democratic revolution led by the proletariat. The essays of this period are included in The Second Half of Gai Hua Collection, The Continuation of Gai Hua Collection and The Tomb.
Due to the changes in the revolutionary situation, Lu Xun felt that the original ideological weapon could not meet the needs of the development of the situation. He constantly accepted the social revolutionary thought from the realistic struggle, which further intensified the contradiction between the old and new ideas in his world outlook. He did not deny his ideological contradiction, but dissected himself more ruthlessly. Weeds is the first collection of prose poems in modern literature, and some letters and essays written at that time highlighted his efforts to dissect himself.
Weeds was written from 1924 to 1926, and * * * earned 23 works. They sharply exposed the darkness of the society at that time, and at the same time reflected the inner contradiction and revolutionary spirit that the author pursued a new revolutionary road but failed to find. The works are novel in conception and rich in forms, which are both symbolic and ironic like prose. The author's thoughts are mainly expressed through the images of poetry, with profound implications and strong feelings. However, due to the environmental relationship, it is difficult to say it directly, and some works have obscure meanings.
In order to avoid being wanted and persecuted by the Northern Warlord Government, and for personal reasons, Lu Xun went south on August 1926 and became a professor at Xiamen University, offering courses such as the History of China Literature, which was later compiled into the Outline of the History of China Literature and published. He also wrote five "Memories", which were later combined with the five previously written, and compiled into a collection of essays "Morning Flowers and Evening Picks" for publication. These works narrate the author's experiences from childhood to youth with cordial style and gloomy feelings, and outline the social features of ancient China. While recalling the past, remembering the nanny, father and teacher, it is permeated with distinct love and hate, flashing anti-feudal anger and alluding to "modern critics" He wrote "Writing Behind the Grave" in Xiamen, carefully summed up and dissected the past struggle experience and ideological development, and made the famous conclusion for the first time that "the world is made by fools, and smart people can never support the world". This shows that after years of practical struggle, Lu Xun is brewing an ideological leap: he clearly criticized the idealistic historical view and set foot on the threshold of materialistic historical view.
On the recommendation of China * * * Production Party, Lu Xun arrived in Guangzhou on June 1927 and became a professor and academic director of Sun Yat-sen University. Since then, he has been in close contact with * * * party member and revolutionary youth, and has a clear understanding of the revolutionary road in China. He said: "The current social situation in China is just a revolutionary war on the ground. A poem can't scare Sun away, but a shot blows Sun away. " On April 10, while celebrating the revolutionary army's triumphant progress, he wrote "Celebrating the Recovery of Shanghai-Nanjing", quoting Lenin's famous words as the basis for his argument, asking people to learn lessons, and avoid "winning with small victories" and preventing the enemy from "taking advantage of the gap". He advocated "continuous attack" to carry the revolution to the end. Two days later, Chiang Kai-shek launched a counter-revolutionary coup in Shanghai. On April 15, the Kuomintang reactionaries in Guangzhou also wantonly killed * * * producers and revolutionary masses. Lu Xun called an emergency meeting of the directors of Sun Yat-sen University to urge the rescue of the arrested students, but the result was invalid. He angrily resigned from all his posts in CUHK. In the white terror, he continued to write and struggle in Guangzhou, and these articles were collected in Just Set.
The fierce and cruel class struggle profoundly educated Lu Xun. In the past, he thought it was probably the old people who oppressed and killed the young people, but now he knows it is not the case. He "witnessed that he was a young man and was divided into two camps, either writing books or helping officials arrest people" (Preface to Idle Three Episodes). The evolutionism he believed in in the past was completely "bombed" and he began to turn into a class theorist. In the haze of white terror, he stood fearlessly in the fighting ranks of the proletariat.
1June, 927, Lu Xun arrived in Shanghai from Guangzhou. He lived with Xu Guangping, where he began his glorious fighting life for the next 10 years. At this time, there are two counter-revolutionary "encirclement and suppression": military "encirclement and suppression" and cultural "encirclement and suppression". There are also two kinds of revolutionary deepening: the deepening of rural revolution and the deepening of cultural revolution. ""Lu Xun, a capitalist, became a great man of China's Cultural Revolution in this' encirclement and suppression'. " (Mao Zedong's "New Democracy"
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Soon after arriving in Shanghai, Lu Xun took over the bimonthly "Threads", co-edited the monthly "Running" with Yu Dafu, participated in revolutionary freemasonry, and got in touch with China's * * * production party. 1928 Debate on proletarian revolutionary literature initiated by Creation Society and Sun Society. In order to clarify the problem correctly, Lu Xun translated and studied Marxist literary theory. He contacted the reality of the China revolution and the literary movement, published many incisive comments, correctly criticized the "Left" errors of the Creation Society, and made contributions to the healthy development of the proletarian literary movement. From 65438 to 0929, Lu Xun edited the series of Scientific Art Theory, and successively translated and published plekhanov's Art Theory, Luna Karski's Literature and Criticism and some famous Soviet works. In the process of studying revolutionary theory seriously, he realized that "only emerging proletarians have a future". During this period, he and Rou Shi organized the Flower Society, introduced the literature of Eastern Europe and Northern Europe, and imported the new woodcut art, and successively published Flower Weekly and Flower in Art Garden. 1929 In September, my son Yinghai was born in Shanghai. The essays of the past two years are collected in three collections of idle books. This anthology reflects his ideological changes in Marxist debates and learning, and shows the process of his gradually mastering new ideological weapons.
Lu Xun has been concerned about national liberation and people's interests since his youth. In order to transform the old China, he constantly searched for weapons and ways of reform. First observe the world from the perspective of biological evolution, and then look for the truth of Marxism. At first, he paid attention to the transformation of "national spirit", and later he paid attention to the reform of economic and political system. From revolutionary democrats to * * * producers, from enlighteners to proletarian revolutionaries, this is the road to the development of Lu Xun's thought. Lu Xun's fighting road reflects the direction of China's cultural revolution. Lu Xun accepted Marxism with rich struggle experience and painful lessons. Once he accepted it, he became convinced and became a staunch Marxist. For Marxism, he never simply repeats or deduces other people's statements, but is good at using his own life experience and feelings, as well as his rich struggle experience and extensive historical knowledge to prove and elaborate. Marxism really became his soul and flesh and blood.
1930 to 1 year, bud monthly (later a leftist journal) edited by Lu Xun. 1February, 930, he joined and initiated the "China Freedom Movement Grand Alliance" led by the Party, and was immediately wanted by the Kuomintang Party Department in Zhejiang Province on the charge of "degenerate literati". Lu Xun is not afraid of this. In March, the League of Chinese Left-wing Writers was established in Shanghai. Lu Xun was one of the founders and took part in the leadership work. He cleared up differences with writers such as Creation Society and Sun Society, and worked in unity. At the inaugural meeting of the Left-wing Writers' Union, he delivered a speech entitled "Opinions on the Left-wing Writers' Union". Combining Marxism-Leninism and the reality of China's literary revolution, he correctly put forward the requirements for revolutionary writers and the working direction of the Left-wing Writers' Union, thus becoming the guiding document of China's revolutionary literary movement. Before and after the establishment of the Left League, Lu Xun United with many revolutionary writers and waged a resolute struggle against the "nationalist literature" fostered by the bourgeois cultural society Crescent Society and the Kuomintang reactionaries. He criticized the theory of human nature, expounded the class principle of literature, exposed the essence of "executioner and jailer" who shed tears to maintain public order, and insisted on thoroughly criticizing the corpse literature produced by rogue politics under the imperialist colonial policy.
193 1 February, party member Rou Shi and Yin Fu, members of the Left League produced by * * *, were killed by the Kuomintang. Lu Xun is also in danger of being searched by the Kuomintang. He was forced to take refuge from home, but he still remembered fighting. He published an article commemorating the victims of the war in the secret publication "Outpost" of the Leftist League, wrote about the current situation of literary and art circles in dark China, and entrusted American friend Smedley to translate it into English and mail it abroad to accuse the Kuomintang of bloody crimes. Two years later, he wrote "In Memory of Forgetting", once again mourning for his dead friend and accusing the reactionaries.
Before and after the establishment of the Leftist League, Lu Xun consciously stood under the banner of the * * * production party in China. It eliminated the trace of personal struggle and solved the long-standing contradiction of "I hope to have a new society, but I don't know what this' new' should be" (Jie Jieting answered the question of the International Literature Society in his essay). His essays did not pursue hard, but fought bravely for ideals: he defended proletarian literature, the people's revolutionary cause, and * * * theory and its great practice. And on the basis of this idea, a calm and generous fighting style is formed. In the articles about literature and art, class theory became the cornerstone of his theory; He clearly declared that literature should become "a wing of the proletarian liberation struggle", and made a scientific discussion on the relationship between literature and art and society, thought and art, and writer and revolution. The writer's world outlook is the center of his frequent discussion. He is not only the leader and standard-bearer of the Left League, but also a friend of revolutionary writers. His achievements and contributions in Marxist literary theory have overcome some influences of the "Left" line in China's * * * production party on literature and art, and guided the direction of the left-wing literary movement.
Unprecedented national hero1931September 2008 18, the Japanese invaders attacked Shenyang, and the three northeastern provinces fell one after another, and the national crisis became increasingly serious. Lu Xun wrote many essays, sharply exposing the imperialist crime of aggression and the reactionary policies of the Kuomintang. In order to make the propaganda penetrate the masses, he also edited Crossstreet, a popular small newspaper on current affairs and literature. From 1930 to 193 1 year.