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. Through the imperial examination, you can be promoted, you can make a fortune, your personal worth is a hundred times, and your family background is also envied by the world. This is considered to be the "right path" for scholars. Those who are not officials can also be the "aides" of a bureaucrat, making suggestions for this bureaucrat, running for efficiency and accepting gifts from this bureaucrat. With this bureaucratic power, I also have power. This is the second road that scholars often took at that time. If the first two roads fail, you can still go into business. Although this was despised by bureaucrats at that time, you can make a fortune and not fall to the bottom of the insulted and damaged society. 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 left his hometown, entered Nanjing Naval Academy, and then transferred to Nanjing Railway and Mining Academy in order to find "others" in a "different place". These two schools were set up by the Westernization School at that time to enrich Qiang Bing. Among them, mathematics, physics, chemistry and other courses are offered to impart natural science knowledge, which is unprecedented in China's traditional education. After class, Lu Xun also read works on foreign literature and social sciences, which greatly broadened his cultural 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 life and creation Lu Xun is a man with a strong thirst for knowledge. During his study in Nanjing Road Mining School, his academic performance has been excellent, which 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". The Japanese realized the value and significance of western science and technology through western medicine, and Lu Xun also wanted to inspire the consciousness of China people through medicine. But his dream didn't last long before it was shattered by the harsh reality. At that time, Japan grew rapidly through the Meiji Restoration, but the forces of Japanese militarism were also developing at the same time. 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 modern world with many powerful countries, 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. At that time, he and his second brother Zhou Zuoren translated two volumes of foreign novels and published a series of important papers, such as Teaching the History of Science, On Cultural Deviation and On Moro Poetry. In these papers, he put forward the important idea that "founding the country" must first "establish people" and enthusiastically called for "soldiers in the spiritual world who aim at resistance and action".
During his study in Japan, Lu Xun had a clearer understanding of the development of contemporary world culture, a more practical thinking about the future and destiny of the Chinese nation, and initially formed his independent world outlook and outlook on life. However, Lu Xun was not a hero who shouted with his arms raised. His thoughts and feelings were not only incomprehensible to most Japanese at that time, but also difficult to be widely echoed by students studying in Japan. 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 The Revolution of 1911 also excited him for a while, but then Yuan Shikai proclaimed himself emperor, zhang xun restoration and other historical ugly dramas continued to be staged. The Revolution of 1911 did not change the reality of China's stagnation and backwardness and the historical fate of being bullied by western imperialism. The confusion of society, the disaster of the nation and the misfortune of personal marriage life all made Lu Xun feel depressed and depressed. Life at this time is like a cup of bitter wine, which is drunk in the stomach and bitter in the heart. I want to vomit and I can't bear it. But because of this, after the May 4th New Culture 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, marking the development of China's novels into a brand-new era. This novel embodies all Lu Xun's painful life experiences from childhood 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!" It can be said that Lu Xun's Diary of a Madman is a movement against the traditional feudal autocratic culture and a declaration calling for the reconstruction of China's modern new culture. It used the sharp voice of the insulted and damaged Chinese nation to declare the will and belief of the Chinese nation to rise again in the whole world.
After Diary of a Madman, Lu Xun published several short stories in succession, and later compiled two collections of short stories, Scream and Wandering, which were published on 1923 and 1926 respectively.
Lu Xun's novels are few in number, but they are of great significance. China's novels, only when he arrived at Lu Xun's place, focused on the broader subject area of 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. What a heartless world this is! What a twisted life this is! 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 stand on their own feet, hold their heads high and fight for their happy future.
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 On the Restaurant, Zi Jun and Juan Sheng in Mourning for the Past all pursued and struggled for the society and themselves, but in the stagnant and backward society of China, they all experienced a tragic fate. When Lu Xun sympathized with these intellectuals, he sympathized with China society and cared about the fate of the Chinese nation, because only these intellectuals were still struggling for social progress at that time.
Lu Xun has an abhorrent attitude towards two kinds of people in society, that is, dignitaries 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 were powerful in China society at that time, but they didn't really care about the fate of others, and they didn't have the slightest enthusiasm for social progress. They only care about their own power and status, and they are 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. This requires superb artistic skills. There is always a "joy of discovery" when reading Lu Xun's novels. The picture is an ordinary picture, and the characters are ordinary characters, but we can always notice the characteristics that we don't usually notice and perceive the psychological activities of the characters that we don't usually notice in such an ordinary picture and ordinary characters. 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. Different from western culture, China ancient culture was ruled by a religious culture, that is, the Christian culture in the Middle Ages. As long as we get rid of the bondage and imprisonment of this religious culture, modern western culture will have the power to develop. The ancient culture of China is composed of different cultures. In the process of development and evolution for thousands of years, various cultures have blended with each other. When modern intellectuals in China want to create new cultures and new ideas that adapt to the modern development of China, they encounter slanders and attacks from different classes, figures, angles and 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 Cutting Pavilion, 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 completely broke the shackles of the "gentle and honest" aesthetic style of China's ancient prose, expressed the feelings and emotional experiences of modern people more freely and boldly, and opened 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's creativity in thought and art is amazing. He has his own brand-new creations in short stories, essays, prose poems, historical novels and essays. This makes him the greatest writer in China in the 20th century and a world-class literary master. 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".
Lu Xun's famous words
Lu Xun's old-style poems;
1, bash one's eyebrows coldly at a thousand fingers, bow one's head as a willing ox. (Lu Xun laughs at himself)
2. Send a message to Han Xing, and I recommend Xuanyuan with my blood. (Lu Xun's self-titled portrait)
3, relaxed and even spacious, listening to thunder in land of silence. (Lu Xun untitled)
4, the original grass is full of blood, and the cold condenses the earth. (Lu Xun untitled)
5, endure to see peers become new ghosts, angry at the knife to find small poems. (Lu Xun)
6. Ruthlessness is not necessarily a real hero. How can Reiko Kobayakawa not be a husband? (Lu Xun)
7, do rob brothers, meet and laugh. (Lu Xun)
8. Is there any pride like in the old days? Flowers bloom and fall. (Lu Xun mourns Yang Quan)
Lu Xun's famous sentence:
1. Time is like water in a sponge. As long as you are willing to squeeze, there is always something.
If you only read books, you will become a bookcase.
I seem to be a cow, eating grass and milking cows.
4. May all the young people in China get rid of the cold air, just walk upward, and don't have to listen to the words of self-destructors.
5, in fact, there is no road on the ground, and more people walk, it becomes a road.
6. Where there is genius, I spend all my time drinking coffee in other people's works.
7. Only soul of china has value, and only by developing it can China make real progress.
8. Calm, brave, discerning and unselfish.
9. The more difficult it is, the more you have to do it. Reform has never been smooth sailing.
10, our top priorities now are: first, survival, second, adequate food and clothing, and third, development.
1 1, you must dare to face it, and you can expect to dare to think, speak, do and act.
12, in the past, the rich should be retro, the rich should maintain the status quo, and the poor should be innovative, average, average!
13, human beings will never be lonely, thinking that life is progressive and natural.
14, as long as it's not like this, it's a baby. ...
15, the fact is a heartless thing, which can crush empty words.
16, the lies written by Mo can never cover up the facts written in blood.
17, in fact, pioneers can easily become stumbling blocks.
18, there is no freedom if you want stability, but you have to go through some dangers if you want freedom. There are only two ways.
19, if you want to cover everything, nothing can be done.
20. Time is life. Wasting other people's time for no reason is actually tantamount to killing people for money.
2 1. It is very bad to do something, no matter it is big or small, without perseverance.
22. If the deceased is not buried in the heart of the living, it is really dead.
23, intense fast, also peaceful fast, even decadent fast.
24. It is always more difficult to remould oneself than to forbid others to come.
25. As long as a flower can be cultivated, it is better to be rotten grass.
26. When I am silent, I feel full; I will open my mouth and feel empty at the same time.
27. Past lives were dead. I am happy for this death, because I know it once lived.
28. The dead life has rotted. I get great pleasure from this decay, because I know it is not empty.
29, but I am calm and happy. I can laugh and I can sing.
I love my weeds, but I hate the ground decorated with weeds.
3 1, when I am dust, you will see my smile!
32. If you don't break out in silence, you will perish in silence.
The story of Confucius
Lutz once asked Confucius, "I heard that an idea is very good. Should it be implemented immediately? " Confucius said, "There are brothers and sisters who are more experienced than you. You should consult them first. Where can I do it right away? " However, You Ran also asked Confucius: "I heard that an idea is very good. Should it be implemented immediately?" Confucius replied, "Of course, it should be implemented immediately." Gong Xihua saw the same question and gave different answers. He couldn't figure it out, so he asked Confucius. Confucius said, "Ran Qiu should be encouraged to be brave when he is afraid of something;" Zhong You is reckless and should be careful. "
You Ran once said to Confucius, "Either you don't like what you say, or you don't have enough strength to carry it out." Confucius said, "If you can't do what you want, you can give up halfway and just ask for it back." But you don't want to leave now! "This is what happened to You Ran. Besides, Luz is a happy man. Confucius once said that he could solve a case in a few words. Once, Confucius joked, "If my ideal can't be realized at home, I have to go overseas by boat. It must be Zhong You who is willing to follow me first. "When Lutz became real, he was very happy. Confucius reprimanded: "A brave man is braver than me, but he wants nothing!" "This is Lutz's temper. Everything Confucius said to them was the right medicine.
Confucius also criticized other disciples for hitting the nail on the head. Yan Yuan was his favorite disciple, but because Yan Yuan was too obedient to him, he said, "Yan Hui didn't help me because he accepted everything from me!" For example, Confucius advocated all-round development. If it is unilateral development, he thinks it is just like a useful appliance, so he says, "A man with knowledge and culture can't be like an appliance." But Zi Gong has a biased tendency, so he criticized Zi Gong and said, "You are just a musical instrument!" " "Zi Gong asked," what vessels? Confucius said, "Fortunately, it is an instrument for sacrifice. "That is to say, from individual occasions, Zigong is a decent musical instrument, but it does not pay attention to all-round development.
Confucius pays attention to inspiration and is good at choosing opportunities that people can easily accept to remind him. He said: "I won't enlighten a person unless he is eager to learn;" If a person does not find it difficult when he is studying hard and puzzling, I will not guide him to a deeper level. For example, there is a square table here. If I tell him that one corner of the table is square, but he doesn't care at all and doesn't realize that the other three corners are square, I won't talk nonsense to him again. "
Confucius can often make people go further in their original ideas. Zi Gong once asked, "Most people like this man. What about this person? " Confucius said, "This is not enough." Zi Gong asked again, "So, most people don't like this man?" Confucius said, "Not enough. If all good people like him, all bad people don't like him. "
Confucius often used his humble examples to educate his disciples. He once said, "I was born knowing nothing. I just like the experience accumulated by the ancients and pursue it tirelessly. " He added, "Three people walk together, and one of them must be my teacher." And said, "What do I know? I don't know anything. Someone asks me, and I'm empty. But I will definitely clarify the questions people ask and I will try my best to help him think. "
On one occasion, Lutz asked Confucius what would happen after his death. Confucius said: "The problem of being alive has not been solved. What should I do after I die? " Lutz asked again, "How to treat ghosts and gods?" Confucius said: "We haven't been kind to people, let alone to ghosts and gods!" That's how Confucius attached importance to practical problems and didn't like empty theories. Confucius also seldom talked about strange, powerful, chaotic, ghosts and gods. In life, if it is too high and unrealistic, Confucius will not allow it. Zi Gong once said, "I don't want others to be nice to me, so I don't want to be nice to others." Confucius said, "Here, this is not what you can do now!" " "