Collection of novels
Scream1923 August, published by Beijing Xinchao Publishing House.
Wandering 1926 August, Beijing Beixin Bookstore.
New Story 1936, Shanghai Cultural Life Publishing House.
Essays
After his death, Cai Yuanpei, Xu Guangping and others compiled and published Lu Xun's essays before his death into the first edition of The Complete Works of Lu Xun. However, due to the rush of time, it is inevitable to leave pearls. 1948 and 1952, Tang Tao edited and published Supplement to the Complete Works of Lu Xun and Supplement to the Complete Works of Lu Xun. These articles were later compiled into various versions of The Complete Works of Lu Xun in different ways.
Grave 1927 March, Hot Air 1925 1 1 October, Beijing Beixin Bookstore.
Ji1926 August Beijing Beixin Bookstore Ji Xu1927 May Beijing Beixin Bookstore.
The sequel 1948, Justice Collection of Shanghai Publishing Company 1928 10, Shanghai Beixin Bookstore.
Saint Ji Xian1932 September, Shanghai Beixin Bookstore1934 April, Shanghai Wentong Bookstore.
Two Hearts Collection 1932, Lace Literature of Shanghai He Zhong Bookstore1936 June, Shanghai Lianhua Bookstore.
Pseudo-free book 1933 10, quasi-romance 1934 12, Shanghai Lianhua Bookstore.
Essays on Street Pavilion in July 1937, Essays on Street Pavilion II in July by Shanghai Sanxian Bookstore.
July 1937, final edition of Jie Jieting's prose collection, May 1935, outside the collection of Shanghai Sanxian Bookstore, Shanghai People's Book Company.
Supplement to in vitro corpus 1938, Supplement to in vitro corpus of Lu Xun Publishing House 1952, Shanghai Publishing Company.
Translation under the Wall April 1929, Modern Japanese Novels Shanghai Beixin Publishing House June 1923, Shanghai Commercial Press.
Problems of Modern New Literature, April 1929, Peach Cloud, Shanghai Dajiang Bookstore, July 1923, Beijing Xinchao Society.
On Art in June 1929, Symbol of Depression in Shanghai Dajiang Bookstore in February 1924, Beijing Unnamed Society.
Literature and Criticism 1929 In June, Shanghai Ink Bookstore walked out of the ivory tower 1925 12 in February, Beijing Unnamed Society.
Travel to the Moon (1903), Little John of Tokyo Evolution Society (1928), Beijing Unnamed Society.
Workers' Sui Hui Lu Fu1922 May, Shanghai Commercial Press, Thought Landscape Man1928 May, Beixin Publishing House.
Translation of Modern Fiction Series1922 July, Modern Art History Tide by Shanghai Commercial Press 1929, Beixin Publishing House.
B·R·Epomehk Fairy Tales1922 July, Peter Jr.1929110, Shanghai Chunchao Publishing House.
Literary Policy1930 June, Art Theory of Shanghai Ink Bookstore1930 July, Shanghai Guanghua Bookstore.
Destruction 193 1 September, Harp 1933 1 October, Shanghai Liangyou Book Company.
1October1933 February, a day's work of Shanghai Shenzhou Guoguang Society1933 March, Shanghai Liangyou Book Company.
Table1935 In July, Shanghai Cultural Life Bookstore Russian Fairy Tales1935 In August, Shanghai Cultural Life Bookstore.
Dead Soul 1938, Shanghai Cultural Life Publishing House Bad Kids and Other Anecdotes 1936 June, Shanghai Lianhua Bookstore.
Medicinal plants and others1June, 936, Shanghai Commercial Press, Pastoral Songs of Mountain People 1938, Complete Works of Lu Xun Publishing House.
Translation supplement, March 2008, Fujian Education Press.
Underground Travel1906 March, Shanghai Puji Bookstore, Nanjing Qi Xin Bookstore.
Collection of Foreign Novels (March 1909) Volume I; 1July, 909, the second volume was compiled and published by Zhou Brothers. The publishing house is unknown.
A Brief History of Chinese Novels192365438+February, Volume I; June 1924, Volume II, Peking University Xinchao Publishing House.
Outline of China Literature History (1938) was compiled by Lu Xun Complete Works Publishing House and Lu Xun Complete Works Committee.
Historical changes of China's novels 1938, Complete Works of Lu Xun Publishing House, finishing by the Complete Works Committee of Lu Xun.
Weeds1July, 927, collection of prose poems of Beijing Xinchao Society.
Flowers in the morning 65438+September 0928, collection of essays of Beiping Weiming Society.
The Preface and Postscript Collection of Ancient Books (1938) was compiled by the Complete Works Committee of Lu Xun Publishing House.
The Preface and Postscript Collection of Translation (1938) was compiled by the Complete Works Committee of Lu Xun Publishing House.
The Book of Two Places 1933, Letters of Lu Xun and Xu Guangping by Shanghai Guangqing Bookstore.
Lu Xun's Letters (1937), edited by Xu Guangping of Sanxian Bookstore.
The Diary of Lu Xun was compiled by Shanghai publishing company Xu Guangping in 195 1 year.
novel
Lu Xun's novels are unique in material selection. In the choice of themes, Lu Xun reformed the mode of choosing only "brave men, thieves and robbers, monsters and immortals, talented people and beautiful women, followed by prostitutes and lackeys" in classical literature, and created two major themes of modern literature with "for life" as the enlightenment purpose. His materials "are mostly taken from the unfortunate people in the sick society." Lu Xun has an extremely unique vision in dealing with these subjects. When observing and expressing his hero, he has his own unique perspective, that is, he always pays attention to the mental "diseases" of intellectuals and farmers in the "sick society". Therefore, in Hometown, the most shocking thing is not the poverty of the leap soil, but the mental numbness shown by his "master". The exploration of the subject matter of intellectuals focuses on their mental trauma and crisis. For example, in the dining room, we saw that the heroes who fought alone in the Revolution of 1911 could not get rid of the lonely fate, returned to the original point under the oppression of the powerful feudal tradition, and consumed their lives in decline. Lu Xun's reform evolved into two novel plots and structural modes: "seeing/being seen" and "going home" in Scream and Wandering. In the novels presented to the public, everyone only plays the role of "watching", and the relationship between them is only "watching" and "being watched", thus forming the binary opposition between "watching" and "being watched", which is manifested in the Diary of a Madman, Kong Yiji, Blessing and other novels. In the mode of "returning home", Lu Xun tells other people's stories as well as his own, which permeates and influences each other and forms a polyphony. For example, in Blessing, he talked about the triple relationship of "I", "Sister Xianglin" and "Lu Zhen", including the stories of "I" and "Lu Zhen" as well as the stories of Sister Xianglin and Lu Zhen. The two stories are connected in series, and the soul of "I" is tortured by Xianglinsao's question, thus revealing the internal relationship between "I" and the traditional spirit of Luzhen. Novels similar to this model include Hometown, Lonely Man and In a Restaurant.
In addition, on the one hand, Lu Xun has been exploring the form of theme infiltrating into novels. In On Restaurants and the Lonely, the narrator "I" and the novel characters are two different sides of "self" or two sides of internal contradiction, so the whole article has the nature of self-soul dialogue and mutual refutation. On the other hand, Lu Xun is also pursuing a subtle, restrained and concise language style. He once said, "I try my best to avoid nagging in writing." I just want to convey my meaning to others, so I'd rather have no foil. " In this regard, when introducing his experience in writing novels, he also said that "it is very frugal to draw a person's characteristics, and it is best to draw his eyes." "China's old drama has no background. There are only a few main characters on the flower paper sold to children in the New Year (there are many backgrounds on the flower paper now). I'm sure this method suits my purpose. " This also shows that Lu Xun pays attention to the mental outlook of the characters when describing them, and attaches great importance to the artistic interest of farmers in the description. Lu Xun studied the artistic features of old plays and New Year pictures that farmers loved, and applied them to his own artistic creation, which made his novels show strong national characteristics. However, he used the artistic experience of poetry, prose, music, art and even drama for reference to create novels, and tried to integrate them, so poetic novels (mourning poems, social dramas, etc.) appeared. ), prose novels (rabbit and cat, duck comedy, etc. ), even drama novels (rise and fall)
In 1930s, Lu Xun's creative energy mainly focused on essays. However, he did not forget the creation of the novel and contributed his last innovative work, The New Story. This collection of novels still shows Lu Xun's imaginative power and strong creativity: it has made a new impact on the creative norms of China's modern novels created in the midst of shouting and hesitation, seeking a new breakthrough. In New Stories, Lu Xun consciously broke the boundary between time and space and adopted the method of "blending the ancient and the modern": in addition to recording the historical records of the main characters in the novel, he also created some minor dramatic characters, adding a lot of modern language, plots and details to their words and deeds. Use modern language to play freely and ridicule and expose reality with a "slick" attitude. At the same time, there are "solemn" and "absurd" colors and intonation melodies in many articles, which complement each other and penetrate and digest. For example, in "mending the sky", the magnificence of Nu Wa's nature is desirable, but in the end, it is extremely absurd for future generations to camp on the belly of a dead body under the banner of "mending the sky by creating people". This absurdity makes the sense of greatness in the last article disappear and become a kind of historical sorrow.