Lu Xun was a great proletarian writer, thinker, and revolutionary. Below are the essays about Lu Xun that I compiled for you. You are welcome to read them. Prose about Lu Xun 1
I remember Mr. Lu Xun said: "The first person to eat crabs can be called a warrior." Of course, writing the first new vernacular poem and prose poem also requires extraordinary talent. courage. Hu Shi named his poetry collection "Attempt Collection" because he was trying to "eat crabs"! Shen Yinmo (1883--1971) was the first to grab and devour it without hesitation. This was an epoch-making and historical initiative.
In Volume 4, No. 1, of the magazine "New Youth" published in January 1918, there were actually 9 vernacular poems published that were not quatrains, rhymed poems, or different from lyrics and music! Instead of singing about emperors, generals and gentlemen, there are two people singing about rickshaw pullers. Isn’t it so polite and polite! There are three authors - Hu Shi, Liu Bannong, and Shen Yinmo. Shen Yinmo's "Moonlight Night" is China's first prose poem! In the "Annual Selections of New Poems" published in 1919, after the poem "Moon Night", the poet Kang Baiqing commented: "This poem was probably written in the winter of 1917. It is considered the first prose poem in the history of Chinese New Poetry. It is also the first prose poem in the history of Chinese New Poetry. The beauty can be understood but cannot be expressed in words." The appendix "A Brief Note on Poetry" also says: "The first prose poem with the virtues of new poetry is Shen Yinmo's "Moonlight"." After it was published, it was praised and criticized. . In the eyes of the feudal remnants, old and young, what kind of thing is this "neither a donkey nor a horse"? It is neither prose nor poetry, it is a complete "freak"; the content written is even more unreliable, it is simply "a donkey croaking and a dog barking"! In fact, this is exactly the artistic characteristic of Shen Yinmo's prose poem.
"The frosty wind is blowing, and the moonlight is shining brightly." It adopts double-voice rhyme. "Huhu" is onomatopoeic, and "Mingming" is pictographic (light). One is for hearing, the other is for vision. The audio-visual synaesthesia closely depicts the artistic conception of autumn night. The beauty of the poem is that it has no narration and superfluous words, and expresses one's feelings directly. It does not say "I was like this on a moonlit night in late autumn...". The two words "frost wind" in the first sentence point out the season, and the moonlight is "bright" at night. If "langlang" is not used, the sound will be weakened and the light will be enhanced, lighter and brighter. If it is replaced with "langlang", it will be like a clanging cymbal, destroying the rhythm of movement and stillness. It is quoted in Cao Cao's four-character poem: "It is as bright as the moon". The third and fourth sentences say that I and the tree stand side by side and are independent. Why does it specifically mean that I stand without leaning on the tree? Just like the blank space in Chinese paintings, let readers understand, imagine and interpret it themselves!
Including "Moon Night", President Shen Yinmo wrote 17 new poems, all published between 1918 and 1920. My favorite is his "Three Strings". Sanxian is a unique musical instrument in Jiangnan that accompanies the beginning of the lyrics, and it often stirs my nostalgia. Its sound belongs to the riverside corridor and the alleys of the ancient town. Shen Yinmo's "Sanxian" does not describe the person who plays the three-stringed instrument, nor does it describe the music played. The time is a dull and hot noon, the long street is deserted, a dilapidated courtyard and low earthen walls "block the way." A person who plays the three-stringed string cannot cut off the sound of the three-stringed string. "This poem is divided into three natural sections, describing the three sections of artistic conception. It is not divided into lines. It is completely written in prose, but the core of the poem is everywhere, so it can be called a standard prose. poetry. Shen Yinmo's prose poem proves the difficulty of this new style of prose poetry. The language does not come out casually like spitting. He spent a full month of hard work to make this prose poem not only have the necessary internal rhythm, but also Moreover, the phonology of the language is made to conform to the rules of classical poetry, taking the example of double-voice rhyme in Li Qingzhao's "Slow Voice", and the onomatopoeic rhyme of Western symbolists such as Verlaine, Valery, Mallarmé, etc., which inspired later poets Dai Wangshu "Rain Alley" creates the musicality of the patter of rain, and even Mu Mutian's hazy sound of water is a great inspiration. It is not an exaggeration to say that it is the spark of the collision between Chinese classical and modern Western prose poetry. According to phonology researchers: Eleven characters in this poem are in double tones, imitating the sound of the three-stringed string. Four yang-sounding characters and seven yin-sounding characters are mixed and used to show the melody and drumming of the three-stringed string. What I want to point out in particular is the last paragraph of this poem: “An old man in ragged clothes sat outside the door, holding his head in his hands, and he was silent.
"Who is he? Is it related to Sanxian? Is he listening to the sound of the string or not? Is he a ruined Jiangnan scholar? Is he an old farmer who has lost his land? Was he passing by and resting when he was tired, or was he taken from the courtyard? Driven out the door? I think this mysterious guest is the melancholy God in the poem! His existence beyond time and space gives this prose poem an infinite meaning.
"The first to eat crabs." "People" - Shen Yinmo is the pioneer of Chinese prose poetry. His prose poems will definitely go down in history, although he only wrote 17 poems in his life. His old poems include "Qiu Ming Collection", "Qiu Ming Chamber Poems", " "Qiu Ming Long and Short Sentences" has been handed down to the world, but how many readers have read it seriously? On the contrary, his prose poems "Moon Night" and "Three Strings" have been passed down for a long time. It is difficult to predict a person's achievements. In his youth, Shen Yinmo was very impressive and contributed to Beijing. University president Cai Yuanpei made suggestions and actively recommended Chen Duxiu to be the dean of liberal arts at Peking University. Chen naturally became an effective member of the editorial board and one of the three pioneers of new poetry. He boldly explored themes, themes, forms and styles. and innovation, and wrote the first prose poem in China. Later, Shen Yinmo traveled to Japan to study and stopped writing new poems. After returning to China, he became the president of Peking University and became famous for his calligraphy in his later years. /p>
"Four Rules of Cherishing Flowers", which Lu Xun co-wrote with his second brother Zhou Zuoren in his early years, has previously been included in the ten-volume and sixteen-volume "The Complete Works of Lu Xun"; later a new eighteen-volume complete work will be published Now, experts have had different opinions on whether these four poems should be included. Some people advocate that they do not need to be included because the original author of this group of poems is Zhou Zuoren. Some people advocate that they continue to be included because these poems were greatly revised by Lu Xun (see Chen Fukang ""Four Rhymes of Cherishing Flowers" cannot be deleted from "The Complete Works of Lu Xun"", "China Reading News", July 31, 2002) - it was finally included and included in the second appendix of "Supplement to Collection of Collections and Collections" (Volume 8 of "The Complete Works of Lu Xun", People's Literature Publishing House, 2005 edition, page 538)
Of course it is right to include it. This group of poems has strong traces of Lu Xun's processing, and a lot can be gained from it. The information is of great research value. There were some disputes about whether to include this poem, which are probably irrelevant and can be ignored; the dispute of sentiment is particularly unnecessary and is just a tidbit of publishing history at best.
The source of these four poems is in the "Notes on Oriole Listening to Orange Wine" appended to "Zhou Zuoren's Diary" after the year of Xin Chou, titled "Cherishing Flowers, Four Rhythms and Steps of Hidden Spring Garden Master Yuan (original) Yun", signed by the author "Descendants of generals Zhen of the Han Dynasty"; Meipi said: "Mr. Duliu (Zhou Zuoren) originally edited it, and Jia Jiansheng (Lu Xun) deleted it", and also said, "The circles are all based on Jia Jiansheng's revised version" ("Zhou Zuoren's Diary", Volume 1, Elephant Publishing House 1996 edition, pp. 294-295). The so-called "Zhenzhen General" refers to Zhou Yafu, a famous general in the Western Han Dynasty. "Historical Records: Jianghou Zhou Bo Family" states that Zhou Yafu was stationed in Xiliu, and the emperor came to work for the army. The camp gate could not be reached; Emperor Wen himself arrived later, but still could not get in, so (Emperor Wen) sent an envoy to General Chijiezhao: "I want to join the labor force. " Yafunai heard that he had opened the gate. The officials on the wall said to the subordinate chariots and cavalry: "The general has made an appointment, and the army is not allowed to drive. So the emperor pressed the bridle and walked slowly. When he arrived at the camp, the general Yafu held his soldiers and bowed, saying: "If you don't bow to me, please show me military courtesy." "The emperor moved and changed the appearance of the chariot. The people thanked him: "The emperor respects the general. " After the ceremony, he left. As soon as he left the army, all the officials were shocked. Emperor Wen said: "Hey, this is a true general! "
It can be seen that "descendants of Han Zhen generals" indicate that the surname is Zhou, which refers to either Lu Xun or Zhou Zuoren. Such a signature in the diary just shows that these four poems are the result of close cooperation between their brothers.
Lu Xun made many changes to Zhou Zuoren's first draft, which was close to rewriting. Therefore, when Zhou Zuoren later mentioned these four poems, he directly called them Lu Xun's works (for details, see "Lu Xun in the Old Diary· "Xin Chou Er", "Characters in Lu Xun's Novels", edited by Zhi'an, Hebei Education Press, 2002 edition, page 293). The following is reproduced according to the final version:
The chirping of birds often lingers in dreams, The flowers are standing idle in the shade, looking forward to the tender sunshine. The red eyes are dancing with the butterflies, and the velvet green hair is growing around the steps.
The most puzzling thing is that the sparse rain on the four eaves brings the sound of autumn.
The pity of drama often chases Liu Mianpiao, when will the golden house store Gillian? The light rain is about to come, and the thorns are planted diligently. The wind deliberately does not sing the thorns.
Don’t teach the setting sun to make the bamboo flute grow long, and don’t step on the spring sun to cross the Banqiao. I am afraid that the wild geese will return in the new autumn, and the orchid boat is gently rocking with a wine oar.
In February, when it is drizzling and cold, I miss the red beans. Falling yin and sealing clogs increase melancholy, inserting bamboo fences for protection.
The fragrance of comforting my heart fills my sleeves, and the sultry blue tail wine fills my stomach. However, the spring breeze has arrived, and the tea branches in the deep courtyard are already full.
Many flowers bloom around the meadow, and the leaves are leisurely watching the butterflies sleeping. There is only a field for growing flowers outside, and I have been lucky enough to have a flower garden in recent years.
Wen Qin *** appreciates that spring is about to pass, and the beautiful fields are blooming with joy. A parody of the Tang Palace's protection of fine species, with golden bells lightly draped around the edge of the red fence.
According to Zhou Zuoren's eyebrow review, only the first sentence and the second couplet of the first poem are "original", and among them, "Rongbi" is originally written as "fresh green"; the seventh sentence of "puzzled" is originally written as " Desperate place". In the third poem, only the first sentence and the second couplet are from the original manuscript, and the rest were rewritten by Lu Xun. As for the second and fourth poems without eyebrows, I don’t know whether there have been no changes or whether they were all rewritten by Lu Xun. It is estimated that the latter possibility is more likely. Zhou Zuoren did not mention the “original” at all.
Judging from the situation explained in Zhou Zuoren's eyebrow review, Lu Xun's revisions accounted for a large proportion, and the wording was more particular. For example, the word "new green" is relatively common, while the word "Rongbi" is It is more vivid and intuitive, and has a better relationship with "feihong" in the previous sentence. It's a pity that we can't see Zhou Zuoren's original manuscript now, otherwise we could have a better understanding of Lu Xun's intention in this series of revisions.
"Four Rules of Cherishing Flowers" describes the mood of loving and protecting flowers in a very detailed and touching way, which has a lot to do with his early love of planting flowers. Mr. Zhou Jianren, the third brother, recalled that in his early years, Lu Xun "also planted flowers in his spare time. There were several kinds of roses, as well as dianthus, asparagus, plum, azalea, etc., so he also read or copied books about flower planting, such as "Flower Mirror", which is He often looks at it. He not only knows how to plant it, but also knows the names of most flowers, because when he gets a flower, he likes to put a short bamboo stick on the pot and write the name of the plant. "Time", "Memories of Big Brother Lu Xun", Shanghai Education Press, 2001 edition, page 2) Lu Xun's interest in flowers and plants lasted for a long time. While studying in Nanjing, he wrote several notes about flowers and trees, which can still be seen today. Two pieces of "Flower Planting Magazine" (now also included in Appendix 2 of "Supplement to Collection of Collections"). After returning from Japan, he resumed his interest in botany and copied and collated many related ancient books, such as "The Shape of Southern Plants and Trees", "Garden Plants and Trees", "Luoyang Flowers and Trees", "The Record of Polygonum Multiflorum", " "Jin Zhang Orchid" and so on (see Gu Nong's "Early Years of Lu Xun and Plants, Trees, Insects and Fish", "Shanghai Lu Xun Studies" Autumn 2008 Issue, Shanghai Academy of Social Sciences Press October 2008 Edition); these can be said to be "Cherishing Flowers" The extension and development of "Four Laws".
From the four Qilu poems written by Lu Xun and Zhou Zuoren in his early years, we can also see Lu Xun's old-style poetry skills in his youth, and the dual sentences are arranged very neatly. Lu Xun later mentioned the origin of this title in the "Inscription" of "Collection of Nanqiangbei Diao" and said that using this title also meant "to prepare for pairing with the future "Collection of Five Lectures and Three Hushes" which has not yet been written". He then continued. Said:
When I was studying in a private school, I had many mistakes. This old habit has not been washed away. Sometimes I would play "Occasionally", "Manyu", "Secrets of Articles", "Troublemaking" on the questions. "Heart Biography", this time the trouble came to the title of the book. This is unethical.
Most intellectuals and even writers and poets no longer have such old habits. People who can write a couplets or a few old-style poems are often very proud, although how they are right is another question. This is just like today's college entrance examination essays. Occasionally, students write in classical Chinese and often get high scores. As for whether his classical Chinese essays are really on the road, it is another question. Lu Xun's words "not enough as a lesson" are worth pondering. This cannot simply be regarded as just his humble words. It is good to learn pairs, but it is no longer necessary to promote them universally.