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 was the first time he published an article under the pseudonym of "Lu Xun". Diary of a Madman is also China's earliest modern vernacular novel. 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. Middle-aged Lu Xun
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.
Wen Yiduo (1899- 1946), formerly known as Wen Jiahua, also known as Duo Duo, Yi Duo, and the word You San, You Shan. China was a great patriot in modern times, a staunch democratic fighter, an early leader of China Democratic League, a close friend, poet and scholar of China Communist Party. Crescent School is a representative poet and a patriot.
Guangxu of Qing Dynasty,1October 22 (1899165438+1October 24) was born in Xiabahe Town, Qishui County, Hubei Province.
19 12 was admitted to Tsinghua University, and likes reading China's ancient poems, poems, history books and notes. 19 16 began to publish a series of reading notes in Tsinghua Weekly, collectively called February Lu. Write old-style poems at the same time. 19 19 actively participated in the student movement during the may 4th movement, and once represented the school at the National Student Union Conference (Shanghai).
1April, 920, published the first vernacular "student of the walker". In September of the same year, the first new poem West Bank was published.
192 1 year1kloc-0/year initiated the establishment of Tsinghua Literature Society with Liang Shiqiu and others. In March of the following year, he wrote "Research on Metric Poetry" and began to systematically study the theory of metrical new poetry.
1July, 922, went to Chicago Academy of Fine Arts to study. At the end of the year, the Winter Night Grass Review, co-authored with Liang Shiqiu, represented Wen Yiduo's early view of new poetry. The first book of poetry, Red Candle, was published in 1923, which combined the theme of anti-imperialism and patriotism with the form of aestheticism.
1925 After returning to China in May, he successively served as a professor at the 4th National Sun Yat-sen University (1928 was renamed Central University, and 1949 was renamed Nanjing University), Wuhan University (served as the first dean of the Art College and designed the school logo), Qingdao University, Beijing Institute of Art, Political University, Tsinghua University and Southwest Associated University. Former president of Beijing Institute of Art.
The second book of poetry, Dead Water, was published in 1928, showing deep patriotic passion in decadence. Since then, he has devoted himself to the study of classical literature. Four ancient books, The Book of Changes, The Book of Songs, Zhuangzi and The Songs of the South, were sorted out and studied, and then compiled into Classical New Meaning, which was called "unprecedented by Guo Moruo".
1937 at the beginning of the Anti-Japanese War, he taught at the National Southwest United University. During the eight-year anti-Japanese war, he grew a beard and vowed never to shave it off until the victory of the anti-Japanese war, expressing his determination to fight the war to the end.
During his stay at National Southwest Associated University, especially after 1943, Wen Yiduo, under the influence and leadership of China's * * * production party, actively participated in the torrent of struggle against the dictatorship of the Kuomintang regime and for people's democracy. From 65438 to 0944, he participated in the Southwest Cultural Research Association and later joined the China Democratic League. Since then, he has actively participated in social and political activities as a professor of democracy and the leader of NLD Yunnan branch, and has become a mentor and friend that the vast number of revolutionary youth sincerely love and respect.
In the "December 1st" patriotic movement of students, Wen Yiduo always stood on the side of patriotic students, guiding and encouraging them to be brave and good at fighting, and made important contributions to the victory of the "December 1st" movement.
Wen Yiduo (1945) was a member of China Democratic League, governor of Yunnan Province and president of Kunming Democracy Weekly. 1946 On July 5th, he delivered the famous "Last Speech" at the conference in memory of Mr. Li Gongpu, and was killed by the Kuomintang spy that afternoon.
On 2 1, the National The National SouthWest Associated University Alumni Association held a memorial service for Mr. Yiduo, and Zhu Ziqing attended and spoke. At first, he said angrily: the assassination of Mr. Wen Yiduo in Kunming aroused the indignation of the whole country. This is a great loss for the democratic movement and the academic circles in China.
Then, he described Wen Yiduo's great contribution in the academic field in detail. First of all, it tells people that Wen Yiduo was "the only patriotic poet" and "the person who created a new poetic rhythm" before the Anti-Japanese War in China, and "he created his own language of poetry and prose". Wen Yiduo's achievements in myth, Chu Ci, Zhouyi and Book of Songs are also introduced in detail. He highlighted Wen Yiduo's great academic achievements, with the purpose of telling people how precious scholars were killed by the Kuomintang reactionaries and how rare talents were destroyed in China academic circles! Aroused greater resentment against the enemy. Finally, he said bitterly, he has great vitality. He often told us that he would live to be 80 years old, and now he is less than 48 years old, and he died miserably at that despicable and vicious gun! A student once looked at his body and saw that he was "covered in blood, holding his head in his hands and convulsing all over". Alas! He doesn't want to, and neither do we!
He made up his mind that all Wen Yiduo's works must be sorted out and published, which is a way to fight against the enemy. He is writing a letter to Yao Yao, a student, saying: The death of Mr. Yiduo is very sad. Its manuscript is planned to be compiled by the institute and tried to be printed. Later, it was compiled into four volumes of Wen Yiduo's Complete Works.
Zhu Ziqing once wrote poems praising Wen Yiduo:
You are the flame that illuminates the abyss; Teach young people to catch themselves in disappointment. You are a fire, illuminating the ancient times; Songs and dances and competitions are like tigers. You are the fire that illuminates the devil; Burn yourself! There is a new China in the embers! Wen Yiduo's poems have strong national consciousness and temperament. Patriotism runs through all his poems and becomes the keynote of his poetry creation. As early as when he was studying in Tsinghua, he successfully sang his ideals and love with China's traditional poetry themes and imagery vocabulary. His masterpieces, such as Ode to the Sun, Laundry Song, Lonely Goose and Remembering Chrysanthemum, during his stay in the United States showed his contempt for the "civilization" of imperialism and his yearning for the motherland. Such as Prayer, Patriotism, One Word, I'm from China, Song of Seven Sons and other poems. In the early days of his return to China, the poet showed his national pride with fiery emotions, complete images and harmonious melodies. Compared with previous works, the poems in the "stagnant water" period have wider themes, deeper thoughts and further connection with the social reality in China. Poems such as "Spring", "Silent Night" and "Abandoned Village" are full of sympathy for the working people who are in deep trouble in the warlord melee; Poems such as "Mourning-Commemorating the Tiananmen Square Massacre on March 18" and "Bullying" directly point to the atrocities of Beiyang warlords. In the poem Discovery, the poet is puzzled and uneasy in the face of the reality of warlord scuffle, invasion by foreign powers, broken mountains and rivers and people's poverty. He "asked the sky, forcing the wind all around", but "can't always ask for news." Wen Yiduo's poems inherited the patriotic tradition in Qu Yuan's and Du Fu's creation, and have a distinct sense of the times and social criticism.
Song of the Seven Sons is a group of seven poems written by Mr. Wen Yiduo during his stay in the United States in March 1925. They are Macau, Hongkong, Taiwan Province Province, Ahava, Guangzhou Bay, Kowloon and Lushun and Dalian. Among them, Macau, Hongkong and Taiwan Province Province were selected as the second volume of the fourth grade Chinese textbook published by Beijing Normal University.
Wen Yiduo's poems are the practice of his artistic ideas. Most of his poems are like oil paintings with heavy colors. He not only likes to portray the image with strong brushstrokes and render the atmosphere, but also is good at changing different emotional colors in bold imagination and novel metaphors. Coupled with harmonious syllables and well-organized poems, his poems become a complete work of art, but sometimes they lose the brilliance of simple and natural beauty because of deliberate carving. Wen Yiduo's poems created a new genre of metrical poetry and influenced many later poets.
He is the author of Cenjiazhou Chronology, Kuangzhai Poems, Teana Poems, Xintai Poems, Hongzi, Interpretation of the Legend of Goddess in the Tang Dynasty, Interpretation of Lisao, Postscript of Dunhuang Old Banknotes and Songs of Chu, New Meaning of the Book of Songs, Interpretation of Zhu, etc. , and published the complete works of Wen Yiduo.