Jiang: Lu Xun's grandmother (1842- 19 10), her stepmother and her stepmother. When she died, Lu Xun personally arranged her funeral. She is humorous and often tells Lu Xun folk stories and inspires him with folk culture. At the same time, her forbearing personality left an unforgettable impression on Lu Xun.
Zhou Boyi: Lu Xun's father (1861-1896), whose real name is Zhou Fengyi, whose name is Bo Yi. He is open-minded and a sympathizer of the Westernization Movement. Later, he was entangled in the disease, which made Lu Xun suffer the hardships of life.
Lu Rui: Lu Xun's mother (1858— 1943) is kind and resolute, kind and brave, and has a relatively open mind, which has a great influence on Lu Xun.
Zhou Zuoren: Lu Xun's second brother (1885— 1967), formerly known as Zhou Xiashou. A famous modern essayist.
Duangu: Lu Xun's sister died before she was one year old, about one year older than Zhou Da.
Zhou: Lu Xun's third brother (1888— 1984), formerly known as Zhou Songshou, is a biologist.
Zhou Chunshou: Lu Xun's fourth brother (1892—1898) died of fever at the age of 6.
Zhu An: Lu Xun's lawful wife (1878— 1947), born in Dingjiaxiang, Yinshan, Zhejiang (now Dingxiang Lane, Shaoxing City), married Lu Xun at the age of 25 1906. She and Lu Xun were nominally married for 20 years, but they were completely single. Lu Xun's mother's life has been taken care of by her.
Xu Guangping: Lu Xun's lover (1898— 1968), a native of Panyu, Guangdong, was a student of Lu Xun. She took care of Lu Xun for the rest of his life.
Zhou Haiying: son of Lu Xun and Xu Guangping (1929-2011), radio expert. Scream1923 August, published by Beijing Xinchao Publishing House.
Wandering 1926 August, Beijing Beixin Bookstore.
New Story 1936, Shanghai Cultural Life Publishing House.
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. Lu Xun devoted most of his life and energy to the creation of essays in his life, especially in the most mature period of his later thoughts. His article is extremely critical. Lu Xun once divided it into "social criticism" and "civilization criticism", emphasizing the connotation and function of "criticism" in essays. Open 14 essays published by Lu Xun before his death in turn, and you can see a chronicle of ideological and cultural struggles that are constantly criticized, debated and countered ...: from the criticism of feudal ethics and old traditions in Hot Wind to the debate with the retro school, and then to the protest against the fascist dictatorship of the Kuomintang government and China's production. The unyielding spirit of "if you can't defeat the enemy, you can't stop fighting" in Lu Xun's essays is fundamentally opposed to the tradition of "forgiveness" and "moderation" of intellectuals in China culture and China scholar-bureaucrat culture, which reflects the rebellion and heterogeneity of Lu Xun and his essays. Lu Xun's criticism is different from the general ideological criticism. He always focuses his criticism on the person, on people's psychology and soul: this is a kind of writer's care. As Lu Xun himself said: "My habits are not very good. Every time I refuse to believe the superficial things, I often have "doubts". So he is most concerned about people's hidden psychological state, even his own unconsciousness. For example, in Lu Xun's essay On Cao Cao, he saw the twisted and despicable rebellious psychology caused by the feudal hierarchy and family status behind the "national scolding" that China people are used to. Lu Xun also put forward a "backward-pushing" way of thinking, that is, "positive articles look at negative ones", and wrote some essays based on this, such as "Little Miscellaneous Feeling": "Those who call themselves thieves don't have to guard against it, but they are good people; People who claim to be gentlemen must guard against thieves. "This is deeply creepy and naturally' malicious'. Lu Xun's essay thinking is also non-standard. He often found another way, was ingenious outside the conventional thinking line, and opened up a new way of thinking. For example, in his famous academic paper "Wei and Jin demeanor and the relationship between articles and medicine and wine", he used this way of thinking to draw different conclusions: the destruction of ethics by Ji and Ruan is only a superficial phenomenon, but in fact it is a manifestation of excessive love. The sharpness and viciousness of Lu Xun's essays are unacceptable because of his imagination, which also violates the "convention". On the one hand, Lu Xun linked the seemingly farthest people and things from appearance and form, and found the similarity of "God" in the huge contrast of "shape"; On the other hand, we can find and feel the unique connection between history and reality. In the essay "Danger", "Fireworks girl can't pull business in the alley any more, so she has to draw her face and come to the road at night. "In this way, one end is the noble and his palace, and the other end is the' most unclean place' on the ground. Under the influence of Lu Xun, it achieved the "sacred" "banter" and "elegance" "vulgarization".
"Excluding the individuality, concreteness and particularity of concrete and individual people and things, making a general and concise name, upgrading it to this kind of specimen through' this one', while retaining the image and specific characteristics, and becoming the unity of' individual' and' class'" is the basic method adopted by Lu Xun in the debate. In Lu Xun's 14 essays before his death, many wonderful and typical images were created, such as "Eight two dog", "Happy Boy", "Foreign Rogue" and "Revolutionary Foreman". These images often dissect a person's words and deeds at a certain time and place as a typical phenomenon, "attacking one point, not as good as the rest", thus extracting a social type. These images have eternal significance, and also make these "* * * names" have long-term artistic vitality, just like Ah Q and Xianglinsao in Lu Xun's novels.
The language of Lu Xun's essays is also imaginative and creative, which accords with the imaginative thinking. Lu Xun's essays can be said to bring the ideographic function and lyric function of Chinese into full play. In his essays: either spoken and classical Chinese sentences are mixed; Or the cross use of parallelism and repetition; Or the interweaving of long sentences and short sentences, declarative sentences and rhetorical questions, mixed with the simplicity of prose and the beauty and momentum of parallel prose, can be described as "deep affection." For example, "In Memory of Liu Hezhen Jun": "How brave, dare to face the bleak life, dare to face the dripping blood." Very bright and impressive. On the other hand, the language of Lu Xun's essays is nonstandard. He deliberately destroyed grammatical rules, violated conventional usage, and created a discordant "awkward style" to break the shackles of language on thought and achieve absurd and bizarre aesthetic effects. For example, he sometimes organizes words with opposite or incompatible meanings, which are very profound in logic: "rational oppression", "kneeling resistance", "galloping on the tender seedlings" and so on. Lu Xun's essays are few, but they are excellent. These articles are included in Morning Flowers and Weeds. Morning Flowers is a review of Lu Xun's childhood and adolescence, and a fragmentary memory of the author's adolescent life, including his childhood impression of Shaoxing, studying in Nanjing, studying in Japan and teaching in Shaoxing after returning to China, especially the description of his hometown life. Compared with his essays, these articles are clearer, purer and kinder. Flowers in the morning and flowers in the evening focus on the description of the human world, including vivid natural situations (such as From Baicaoyuan to San Tan Yin Yue) and vivid memories of teenagers' actions (such as Social Drama), as well as affectionate descriptions of real people, such as Mr. Fujino, Mr. Wang and Mr. Shou in San Tan Yin Yue. The author did not write them stiffly from the moral point of view, but used emotion to drive the pen of group memory. The most representative figure is the big mother. In A Chang He and other works, Lu Xun strives to tell objectively, and does not praise or criticize at will, so that readers are deeply moved by the kindness, simplicity, enthusiasm and beauty of their great mother in simple words and stories. In contrast, the dissatisfaction with the boring, absurd and ignorant world in the old life in Flowers in the Morning is not outstanding. The beauty and love of the past are not only the spiritual refuge of Lu Xun when he was depressed, but also the rest place of his tired body and mind.
Weeds is a collection of prose poems with a completely different style from Morning Flowers Gossip, showing another Lu Xun style. In Weeds, Lu Xun's works gushed out the obscurity, heaviness and strangeness of dreams and the gloom and mystery of ghosts. An absurd scene, an absurd plot; Uncertain vague ideas, incomprehensible abnormal feelings; The magnificent colors of Leng Yan, fantastic imagination and rich poetry ... One of the main reasons for these "strange variations" is the special language-it comes from the variation of daily life language, which is gorgeous and difficult. On the other hand, the reason is the variant style of Wild Grass, which obviously shows the poetic, novel (the vibration of the declining line) and dramatic (the passer-by) prose. The overall artistic feature of Weeds is introverted lyrical tendency, which reveals the truth and depth of the soul and is a conscious experience and breakthrough of "man"' s own predicament. Lu Xun absorbed and successfully used symbolism here, but at the same time he was obviously more independent than Li Jinfa's rigid transplantation. Therefore, it has also achieved great success in the exploration of artistic expression techniques. Weeds expresses the uncertainty of the theme, which almost contains all aspects of Lu Xun's mood, personality and even the whole inner world. It is also the spiritual history of Lu Xun, a cultural critic in the enlightenment period, in the transition period from a fighter after the enlightenment period. Lu Xun's thought of literary history is extremely rich and profound, and it shines with the characteristics of the times. He creatively engaged in the compilation of literary history, leaving two monographs on literary history to future generations-A Brief History of Chinese Novels and An Outline of China's Literary History, which made great contributions to the study of China's literary history. Unfortunately, due to the unfavorable realistic and objective conditions at that time, a complete History of China Literature that he had planned to write could not be completed in his lifetime. There are two concepts supporting Lu Xun's academic creation, one is the literary history view of early evolution, and the other is the literary history view guided by Marxist materialism in the middle and late period.
In his early years, Lu Xun accepted the influence of Yan Fu's theory of evolution, which deeply rooted in people's hearts and directly affected his academic research. On the one hand, Lu Xun believes that literature, as an art form, is constantly changing and developing, with the essence of innovation and change, and its change and development is unstoppable. "Evolution flies like an arrow, it doesn't fall, it doesn't cling to things, it is praying for the return of the implication, which is nothing to reason." Human society is constantly evolving. "Even an article can't have unique rules that can be applied forever." Novel, one of the styles, "is like a poem, which changed in the Tang Dynasty. Although it is not far from seeking novelty and escaping, its narrative turn and gorgeous words are very clear compared with the rough outline of the Six Dynasties. " As the initial form of the novel, "forcing the evolution of myth is gradually close to human nature for the central figure, and what a fan described is now called legend." On the other hand, on the basis of the continuous evolution and development of literature, Lu Xun believes that literature must be innovative. "On the way to evolution, there must always be metabolism. Therefore, the new must move forward with joy, which is strong, and the old must move forward with joy, which is the way of evolution. " In the study of literary history after accepting Marxist theory, Lu Xun has always insisted on materialism, starting from the objectivity of science, insisting on the primacy of matter, and holding that human consciousness is a reflection and imitation of objective existence. Lu Xun is a great pioneer in China's literary translation. In his life, translating and introducing foreign literary works occupies a very important position. His translation thoughts involve all important aspects of translation, and his unique views still play a great guiding role in today's translation theory research and translation practice. Compared with many translation theories, Lu Xun's translation thoughts are unpretentious, and are mostly expressed by metaphors close to life. His translation thoughts include the following aspects:
First, the purpose of Lu Xun's translation of foreign literary works is to serve the transformation of society, not to translate for the sake of translation. In the preface to the Collection of Foreign Novels, he said: "When we were studying in Japan, we had a vague hope; I think literature and art can transfer temperament and transform society. Because of this opinion, I naturally thought of introducing foreign literature. " Therefore, Lu Xun linked translation with social change and national destiny. Secondly, the enlightenment translation view with audience selectivity. Lu Xun explicitly included "target readers" in translation studies. He mentioned: "Our translation of books cannot be so simple. We must first decide what kind of readers to translate to the public. Roughly divide these people: a, some have received good education; Some people can read ... "Here, Lu Xun classified the target readers and pointed out that different translation methods should be adopted for different readers. His translation should consider readers, which is similar to western reception aesthetics. Third, the translation methodology of hard translation. Lu Xun put forward the methodology of "hard translation" in 1930s, and put forward the translation principle of "keeping faith without violating it" in the debate with Liang Shiqiu. Lu Xun's point of view is by no means to oppose "faithfulness" and "conformity". On the contrary, he stressed that both should be taken into account. Only when "faithfulness" and "smoothness" cannot both be "faithfulness and disobedience". The reason is: "If you translate the letter but don't understand it at most, you may understand it if you think about it, but if you translate it fluently but don't believe it, it is misleading." If you think about it carefully, you are really lost. When he said "disobedience", he tolerated some disobedience, not to keep it on purpose, but to "translate it into different syntax." "But this situation will certainly not last forever. Some will change from "not smooth" to "smooth", and some will be eliminated and kicked out because of "not smooth". The most important thing is our own criticism. In the past 100 years, Chinese has been constantly absorbing new expressions and constantly improving and developing. For example, expressions that people have long been accustomed to, such as "under the leadership of …", "when …", "when talking about …", "strike", "crocodile tears" and "armed to the teeth", all entered Chinese through translation. The fact of the development of modern Chinese proves that Lu Xun's ideas are in line with the development trend of language. Lu Xun is not only a great writer and thinker, but also an excellent calligrapher. Because of his great achievements in thought and literature, people often ignore his achievements in calligraphy. Guo Moruo once said that his calligraphy "far surpassed the Song and Tang Dynasties and climbed straight to the Wei and Jin Dynasties." Lu Xun's calligraphy is mostly running script. Looking at its style characteristics, Yan Zhenqing's "Competing for Seats" was published, which combined the meaning of seal script and Cao Zhang, and the calligraphy of Song people in Ming and Qing Dynasties and Hanzha method, forming an artistic style of simplicity, softness outside and rigidity inside, elegance, elegance and convenience. A large-scale calligraphy work, which pays attention to discipline, steady structure, dignified and simple brushwork, important details, slow and broad charm, and straight into Wei and Jin Dynasties, shows its profound artistic accomplishment in calligraphy. Small letters and small drafts are handy and familiar with each other. Due to the variation of the times, they are often naive and interesting, which shows the richness of their early calligraphy.
Lu Xun's calligraphy can be divided into early, middle and late periods, each with its own characteristics. Early 190 1 years ago, calligraphy was the main patriarchal clan system in the Tang and Song Dynasties. At first, I looked at the calligraphy of the two kings, but at the same time, I mixed the brushwork of people. The font is slightly relaxed, Xiuwa's brushwork is more relaxed, the brushwork is more slender, the brushwork is also revealed, and the structure is more dense. During this period, there was juvenile blood at the end of the pen, so the charm was slightly inferior. 19 1 1 to 1927, the calligraphy style mainly adopted the method of Wei and Jin dynasties, and was mixed with the method of Cao Zhang and seal script, and the calligraphy style changed to simplicity, simplicity, lightness and sparseness. However, there were many books in this period: some were in small letters in Wei and Jin Dynasties; Some YanHang mixed with two kings; Some strokes are round and muddy, the style of the book is simple and the rules are sparse; Some are integrated into seal script, which has the style of Cao Zhang; There is also a revival of his early book style and so on. All this can be regarded as a transitional book. In the later period, from 1927 to 1936, calligraphy has matured. On the basis of Lu Xun's early solid foundation, mid-term aesthetic choice and long-term exercises and copying, Lu Xun's practical calligraphy style has matured and stabilized from technique to aesthetics, forming a unique style. In terms of techniques, the thick lines that turn around with the pen as the center are the main ones; The structural characteristics are word formation, sparse form and dense meaning; Elegant and elegant style, slow and easy-going, free and easy nature are the main characteristics. Aesthetically, its goal is simplicity, elegance, naturalness and antiquity. Lu Xun also wrote many excellent poems in his creative career. Although the overall number is not very large, its artistic characteristics have many commendable places, which are worth further study. Guo Moruo once commented: "Mr. Lu Xun has no intention of writing poems. Occasionally, he sings every time." Or the rhinoceros horn candle monster, or courage. "Lu Xun's poems are particularly prominent in classical poetry creation. These poems are not only rich in content and catchy, but also have high artistic aesthetic feeling and ideological content, which is a good combination of revolutionary rich emotion and perfect artistic characteristics.
The artistic characteristics of Lu Xun's classical poems are: first, distinctive personality and true image. In Lu Xun's classical poems, readers can often truly feel the feelings expressed by the author through various natural scenery or some specific characters described by the author. These scenes cover a wide range and have profound implications, such as "Thousand Forests", "Heron Shadow" and "Antelope". The characters are "wife", "loving mother", "husband" and "hero". Sometimes, the author often takes himself as the main body of the poem in the form of self-portrait, directly expresses his thoughts, and lets the world know the theme he wants to criticize and praise with an open mind. For example, in the poem "Untitled, accustomed to the long night in spring", the author uses "the mother's tears are faintly in the dream, and the flag of Chengtou Wang changes." A simple and clear sentence vividly outlines his family's yearning for being surrounded by white, as well as the scene of warlords fighting and the tragic people. The author does not use too many words to pave the way, but only relies on the two images of "mother's tears" and "king's flag" to express point by point. Second, the language is simple and profound. The language of Lu Xun's poems is simple and natural, without too much carving and rendering, which makes people feel kind and natural to read. However, when we carefully taste them, we can immediately find their intentions, but the feelings they preach are far from simple. For example, in the poem "Gengzi sends a stove to do things", we can clearly find an emotion hidden in Lu Xun's poems-satire and lashing feudal superstition. The author chose this event to reflect the poverty of the family. The implied content is that the kitchen god does not exist, and worshipping the kitchen god will only make the family poorer. If you want to get rid of your destiny, you must rely on your own and personal struggle for tomorrow's happiness. Third, rhetoric is rich and varied. Rhetorically, Lu Xun's commonly used rhetoric includes metaphor, exaggeration, allusion, irony, duality and so on. These rhetorical devices with different functions and distinctive features have become sharp tools to publicize ideas and vent emotions in Lu Xun's works, and also let readers deeply understand Lu Xun's profound knowledge and wise mind. In addition, Lu Xun's ancient poetry forms are also very rich, including five-character poems, seven-character quatrains and seven-character poems. For example, there are five words such as "Gengzi sent the stove for business" and "topic", and seven words such as "answering the guest's question" and "starting a small portrait".