"Accustomed to a long night to spend the spring"
Author: Lu Xun
Genre: Qilu
Accustomed to a long night to spend the spring, 戈 The young woman's temples are hairy.
In the dream, there are faint maternal tears, and the king's flag changes on the city wall.
I can't bear to watch my friends become new ghosts, and look for poems in the bushes of knives angrily.< /p>
After chanting, I lowered my eyebrows and had nothing to write, and the moonlight shone like water on my clothes.
This poem is found in "Nanqianbeidiaoji·For the Memory of Forgetfulness" and was written in memory of the five martyrs of the "Left-Left Alliance" do.
On February 8, 1931, after receiving the news that five writers of the "Left-Left Alliance" were secretly murdered by the Kuomintang, Mr. Lu Xun was extremely sad and angry and wrote a seven-character poem:
< p>When the spring is used to long nights,The women will pull out their young hair on their temples.
In the dream there were faint maternal tears,
The king's flag changed on the city wall.
I can’t bear to watch my friends become new ghosts,
Angrily looking for poems among the swords.
After chanting, I lowered my eyebrows and found nothing to write about.
The moonlight shone like water on the clothes.
Three years later, Mr. Lu Xun introduced the poem into the article when he wrote "For the Memory of Forgetting". The article "For Forgotten Memory" was later selected as a middle school textbook for a long time, so both poems and articles are very famous and widely known. However, the sentence "the king's flag changes at the city head" in the poem has been misunderstood for a long time. In middle school textbooks, university textbooks and other Lu Xun anthologies, there are many notes: "Refers to the melee between the Kuomintang central government and local warlords from 1929 to 1930." This interpretation goes against the meaning of the poem and is worthy of discussion. The author carefully studied Lu Xun's poems and related works of the same period, and believes that the phrase "the king's flag changes at the top of the city" should refer to the various tricks used by the Kuomintang reactionaries to persecute revolutionary and progressive literary and art workers and the various means of "cultural encirclement and suppression". I would like to state the reasons as follows, so that I can seek advice from the generous family.
1. One of the most obvious reasons for the misreading of "The Changing King's Banner on the City Head" is that the "King's Banner" in the poem is confused with "the King". Judging from the grammatical relationship, "Chengtou changes (the king's) flag", the object of "change" is the "flag", not the "king". In other words, what "changes" is not the "melee warlords" who "let you sing and I will appear", but the reaction of all reactionary warlords (kings) against the progressive cultural front led by the Communist Party with the "Left Alliance" as the core. "Unified" and "unified" flags and orders are the means of carrying out "cultural encirclement and suppression". Based on historical facts, from 1929 to 1930, Shanghai, where the author Mr. Lu Xun lived, was already the center of the Kuomintang warlord rule and the base of imperialist forces in China. There was no such thing as a "warlord melee" ("The King of Changes"). However, Shanghai was the main battleground between the revolutionary literature and art front and the counter-revolutionary literature and art front. This was also the most brutal period of the struggle between the "left-wing" progressive cultural front represented by Lu Xun and the reactionary warlord government. Therefore, the term "warlords' melee" is neither grammatical nor historical fact.
2. If "the king's flag changes at the city head" is understood as "warlords fighting", it will make this sentence a stray pen in the whole poem, and seriously weaken the critical power of the original poem. Mr. Lu Xun clearly pointed out in "For the Memory of Forgetting" and several other articles that this poem was used to commemorate the five writers and expose the bloody massacre committed by the enemy. When reading the original poem carefully, the author takes the story of the arrest and murder of the "five writers" as the story, and uses the grief and anger of "I" as the weft to structure the poem. . Why does this sentence of wandering away leisurely refer to something like a warlord melee? Wouldn't it be separated from the theme of the whole poem and become a branching pen?
3. From the perspective of the language characteristics of the poem, the couplet "A loving mother sheds tears in the dream, and the king's flag changes on the city wall" is an intertextual couplet. We fill in the omitted components, and the meaning is It is clear at a glance: I (can) vaguely (see) my loving mother (crying) for my safety (only in my dreams), (as soon as I open my eyes, I will pay close attention to) the changing king at the top of the city. The flag (flag) (how the reactionaries deal with the arrested, what tricks they will use to persecute the revolutionary cultural camp, etc.). In the long black night of terror, facing the enemy's butcher's knife, when everyone (especially his mother in Peking) was worried about their own safety, Mr. Lu Xun had already put his family and life aside and fought tenaciously with the enemy. A tough fight. What he was concerned about was not his personal safety, but the life and death of his captured comrades (in fact, Lu Xun organized rescues in many ways, including asking Soong Ching Ling to come forward for rescue), the struggle against "cultural encirclement and suppression" and the success or failure of the revolutionary cultural cause. The theory of "warlords fighting in a melee" is actually an unfounded conjecture. It does not understand the language characteristics of this poem at all, let alone the author's lofty spirit.
4. So, is there any support for the "flag" theory in Mr. Lu Xun's articles of the same period? have! And there are a lot of them.
After the murder of five writers, Mr. Lu Xun still risked his life and stood up to fight. Through various channels, he published "Chinese Proletarian Revolutionary Literature and the Blood of the Pioneers" and "The Current Situation of the Literary and Art Circles in Dark China" and "The Declaration of the Chinese Left-wing Writers Alliance on the Massacre of a Large Number of Revolutionary Writers for the Kuomintang" and other articles, which systematically and thoroughly exposed the various fascist tactics used by the Kuomintang reactionaries to brutally persecute revolutionary writers and carry out crazy "cultural encirclement and suppression". Here is an excerpt from the original text. : ① Raising lackeys and literati to "attack in groups, or create rumors, or act as detectives"; ② "Banning books and newspapers"; ③ "Closing bookstores"; ④ "Promulgating evil publishing laws and implementing press censorship"; ⑤ "Wanted writers" ; ⑥ Left-wing writers were "arrested, detained, and secretly executed to death" ("scratched," "fried," "hanged," "beheaded," "buried alive," "shot", etc.). These methods are exactly the specific content contained in the poem "The Changing King's Banner at the City Head". Knowing this, the fallacy of the "warlords' melee" becomes even more obvious.