Of course, Qu Yuan's artistic features can't sum up the style of Lu Xun's old poems. Lu Xun was also influenced by other ancient poets. Lu Xun liked Li He's poems very much when he was young. In his letter 19 1 1 to Xu Shoushang, he asked Dai Xu to find Li He's poems. 1935, in a letter to Yamamoto Chuzhi, he said, "When I was young, I liked reading Li He's poems in the Tang Dynasty. His poems are difficult to understand, which is why I admire them. Now I don't even admire this Li Jun. This shows that Lu Xun had a comprehensive understanding of Li He in his later years. However, the imaginative power of Li He's poems, the use of symbolic metaphors, and the emphasis on language tempering all have a certain influence on Lu Xun's old-style poetry creation. Words such as "ghost", "night" and "autumn rain" are often used in Li He's poems, and words such as "night", "autumn" and "wind and rain" are also often used in Lu Xun's old poems. Lu Xun once presented Li He's poems or whole poems in Five Satiries, Thirteen Poems in South Garden, Seven Poems in Green Chapter and Elegy. It is no accident that Li He is the most of Lu Xun's ancient poems. It is worth noting that Li He is also a person who loves to read Qu Yuan and is deeply influenced by Qu Yuan. He claimed that "Chu Ci is an elbow" (as a gift to Shang Chen), "Drink medicine to quench thirst and learn from Chu Yin" (sad to go) and "write Chu Ci with green light" (new bamboo shoots in Changgu North Garden), which shows that he often reads and writes Qu Yuan's works. No wonder Du Mu called Li He "the wonder of coquettish" in Li Changji's poems and songs. Perhaps it is precisely because Lu Xun loved Qu Yuan when he was young that even Li He liked him.
Someone once compared Lu Xun's old poems with Li Shangyin (claiming to be Yu Xisheng), and Lu Xun politely refused. 1934 12 In his letter to Yang Jiyun, he said: "Yuxi was born with a clear pronunciation and a beautiful sentence, but she dared to compare with others. I am dissatisfied with too many allusions." However, people say that Lu Xun loves Li Er (Li He and Li Shangyin), and there is some truth. Li Shangyin's Yaochi: "Grandma Yaochi's window is open, and Huang Zhu is sad." It is said that the Queen Mother of the West will host a banquet for Zhou Muwang in Yaochi. She opened the beautiful and luxurious window, waiting for Huang Zhuge's earth-shattering singing. There are still people who freeze to death in Huang Zhu, because there is this song to mourn these people. Lu Xun's famous "Untitled" poem: "There is no wormwood on the surface of ten thousand ink, so dare to sing and mourn." Lu Xun's last poem was obviously born out of Li Shangyin's poem. Surprisingly, Lu Xun even wrote a few pictures of Qian Qi's "Returning Wild Goose" as a gift: "Why don't Xiaoxiang stay home? The water is bright and the moss is bright on both sides. Twenty-five strings play jathyapple, but I can't help flying. " Every word is marked "Yishan Poetry". Lu Xun wrote this poem by word, but he mistook the author Qian Qi for Li Shangyin. Lu Xun's mistake is due to Li Shangyin's similar poems. For example, there is a poem in "Listening to the rain like a dream": "Listen carefully, but you can't hear the smoke." After a tour, it began to rain in Xiaoxiang, and the rain hit Xiangling for fifty strings. "Just a few days after Lu Xun wrote" Returning Wild Goose ",Lu Xun wrote" Xiangling Pavilion ". Xiangling was originally the goddess in Qu Yuan's poems.
However, there is also an ancient great poet whose influence is more obvious in the creation of Lu Xun's old poems, and that is Gong Zizhen (Ding 'an). According to an elderly teacher friend, one day in the 1960s, Mao Zedong invited several people from the literary and art circles to talk about Lu Xun's old poems. Mao Zedong said: "Lu Xun's old poems are obviously influenced by Gong Zizhen, but how come Gong Zizhen is rarely mentioned in Lu Xun's articles!" Gong Zizhen's poems, especially the seven-character poem "The Sea" written after he abandoned his official position, are vigorous and vigorous, graceful and depressed. Lu Xun's later seven-character poems are also full of Gong Zizhen's resentment and depression. For example, in Mourning for Yang Quan, Xu Shoushang said: "This poem is brilliant and innovative, just like Gong Zizhen." Read Lu Xun's Untitled, and then read Gong Zizhen's poem on the sea: "Kyushu is angry with the wind and thunder, and thousands of horses are sad; I suggest that God stand up again, let go of his talents and don't stick to a pattern. "From this, we can realize some artistic connection between them. It is worth noting that Gong Zizhen is also a Qu Yuan school. In his poems, there are many places where he admires Qu Yuan and reads Chu Ci. For example, "The six arts are only Xu Zhuang's neighbors, and the fragrance eliminates the jade" ("Distinguishing the Immortals"), and the "Zhuang Sao" in the poem is Zhuangzi and Li Sao; In particular, he said that "Zhuang Sao, two ghosts, deeply entrenched in the liver and intestines" ("Fifteen Songs from Spring, Zuqiu ..."), which shows that Qu Yuan had a deep influence on him.
In the field of poetry, Lu Xun especially likes and is deeply influenced by his creation, which are all "Qu Yuan School" poets, that is, romantic poets. The realistic novelist Lu Xun's prose poetry collection Weeds has a strong symbolic color, but in the field of poetry, he worships romantic poets and adopts romantic creative methods in his creation. Some people often understand romanticism as galloping imagination and flying freely. In fact, from Qu Yuan, Li He, Li Shangyin, Gong Zizhen to Lu Xun, their poems are all close to reality. Qu Yuan's Kindness of My Heart, Li He's Worry Like Waves, Gong Zizhen's Worry and Anger, and Lu Xun's Worry are all "hearts" that lament the hardships of people's lives. This is the characteristic of "Qu Yuan School" romantic poets. The influential great writers in history often adopt diverse and comprehensive creative methods instead of single one, and they often adopt different creative methods because of different genres. This is worth pondering.