This paper tries to make some superficial discussions on the artistic style and characteristics of Lu Xun's poems.
one
Mr. Lu Xun once said: Revolutionary literature and art should "fight for the present, but also for the present and the future"-based on the present battle; At the same time, it has become a record of the times. Fighting and poetic historicity are an important aspect of Lu Xun's whole writing style.
The high combination of militancy and poetic history is not available to all progressive writers and artists. Only by standing at the forefront of the times and constantly advancing with the times can a writer reveal the characteristics, spirit and essence of the times most profoundly, and then his works will have far-reaching significance in understanding the times and society, thus enlightening and guiding people to join in real battles. Such works were written by Lu Xun. His novels and essays are like this, and so are his poems.
Lu Xun's poetry is a real history of poetry. It has a long history, almost the same as Lu Xun's essays, even before the emergence of essays. In these continuous poems for more than 30 years, we feel the progress of the times, the development of revolutionary ideas, the severe rule of military and cultural absolutism of reactionaries and the indomitable struggle of the people. The fire spread underground. When we say the history of poetry, we don't mean the kind of poetry that sticks to historical events. Lu Xun said: "Gà i @ (1) poets are also inspiring." The history of poetry must reflect the soul of the times and take the pulse of the times. They stir people's hearts with the emotional waves of the times and inspire people to move forward. Lu Xun's poetry is such a history of poetry.
Fighting and poetic historicity have become the common features of all Lu Xun's works. They all have distinct political tendencies, distinct love and hate, and are poetic and profound.
But a writer's works, under the general style of * * *, will show some differences in style because of different genres. Lu Xun's essays and poems are similar in style. This is because prose and poetry are more convenient to directly express the author's thoughts and feelings, and are more subjective and emotional. Lu Xun's life experienced the climax of the Revolution of 1911 and the failure of this revolution, the May 4th Movement and the subsequent division and aggregation of revolutionary ranks, the vigorous first revolutionary civil war and its premature death, the "encirclement and suppression" of reactionaries and the armed invasion of imperialism. The twists and turns of history made Lu Xun go through a hard life course and ideological course. This makes his thoughts deeply concerned and thoughtful. Lu Xun's essays and poems are more subjective with the author, so there is a depressed and angry style under the general style characteristics. Most of Lu Xun's essays are written for fighting, so they appear angry and depressed. Researchers often pay attention to the anger in Lu Xun's essays, but ignore the depressed side, although it is not dominant. ) Lu Xun's poems are mostly emotional, and "expressing one's temporary temperament", although also combative, is not written for publication, so it seems depressed and angry. Researchers often notice the gloomy side of Lu Xun's poetry, but in fact it also has an angry side, although it is not dominant. ) Lu Xun's essays and poems are similar in style, but they are still slightly different.
To sum up, the characteristics of objective times and subjective thoughts have formed the style of Lu Xun's poems-mainly old-style poems: extensive and profound, depressed and resentful.
two
How did the style of Lu Xun's old poems come into being? We want to divide Lu Xun's old poems into several categories for discussion. It must be pointed out that with the change of subjective and objective conditions, the style of any writer will develop and change. Lu Xun's old poems have been written for more than thirty years. He lived in the period from the old democratic revolution to the new democratic revolution. His own outlook on the world also changed from the early Democrats to the middle New Democrats and then to the later capitalists. This change in subjective and objective conditions will inevitably affect the development of Lu Xun's old-style poems. But on the whole, the style of Lu Xun's old poems is consistent, but in his later years, it has become richer, deeper, depressed and angry.
Some of Lu Xun's old poems are Y ǒ ng @ 2. The great mind is closely related to the social content of the times. There are many ambitious poems written by Y ǒ ng @ (2) in history, which are often vague because they are not combined with social content. Lu Xun also wrote such poems when he was young, such as Lotus Man, which praised the noble mud and graceful charm. However, because there is no social content, this y ǒ ng @ (2) is hazy and bookish. After the self-titled portrait, it's different. This self-titled portrait expresses the poet's strong patriotic enthusiasm and great ambition to devote himself to the motherland, and shows the beginning of the formation of young Lu Xun's revolutionary democratic world outlook. It reflects Lu Xun's exploration and understanding of China's revolutionary road in that period. It is the product of the era when China's democratic revolution gradually reached its climax, shining with the glory of the times. "I commend Xuanyuan with blood" is a heroic oath expressed by revolutionaries in popular language on the eve of the Revolution of 1911. However, the "stormy" of the motherland and the "carelessness" of compatriots have made Lu Xun's heroic spirit angry and depressed. Self-mockery is also a sentimental poem. But it is different from the self-titled portrait. This poem was written in 1932. The revolutionary situation at that time was not as high as that on the eve of the Revolution of 1911, but at a low ebb. The reactionaries are carrying out "encirclement and suppression" of military culture, and history is in tortuous and dark years. The poet himself is different from his student days, but has experienced many twists and turns and hardships in the past 30 years. Hua Gà i @ (1) was ordered to turn over and meet each other, hide his face and cross the city, and let the boat wander, which is a portrayal of the poet's experience and struggle in the dark days, and also a portrayal of Qian Qian's thousands of revolutionaries. This has its own characteristics of the times. The poet's thoughts at this time are also different from those of his youth. At this time, he is more mature and is already a dialectical materialist and a historical materialist. It is impossible for him to be as brave as he was when he was young, but to express his attitude towards life in more profound language: "bow down and be willing to be a willing ox." This poem, which embodies the characteristics of the times and the poet's thoughts, is rich, profound, angry and depressed. I am successful, Answer the Guest, Jump Shout and Jump and Wander are all such poems.
Some of Lu Xun's old poems are in memory of his comrades-in-arms and relatives. The poet mourned all the soldiers who died for the country and the revolution. They are fighting at the forefront of the times. Their fighting reflects the essential characteristics of the times. The third is Fan Jun's silent mourning for the revolutionaries who died after the failure of the Revolution of 1911 and were persecuted by the restoration forces. "The fox went to the cave and the peach unexpectedly appeared. My hometown is cold and dark, and the hot days are long. " It was the time environment at that time. Revolutionaries who "generate pride" finally get the fate of "living a drunken life and dreaming of death". This is an indictment of the feudal restoration forces and a sharp criticism of the Revolution of 1911. "The taste of the world is bitter, and the world is straight and poor." The poet's mood is very painful. Rou Shi and other young people were killed, and Lu Xun wrote a poem to commemorate forgetting. "In my dream, I vaguely shed tears for my mother, and the city head was replaced with the flag of the king." This is a common phenomenon in the dark days when the reactionaries carried out military and cultural "encirclement and suppression". "I can't bear to see my peers become new ghosts and look for small poems with anger." Expressed the pain and anger of the poet. This poem itself is like a dagger, fighting hand-to-hand with reactionaries. The killing of Yang Quan by reactionaries is a criminal record of counter-revolutionary cultural "encirclement and suppression" and fascist rule. He and Lu Xun are both the backbone of the League for the Protection of Civil Rights, and they both devoted themselves to fighting for democratic power. After Lu Xun resolutely attended the funeral ceremony regardless of safety, he could no longer restrain his passion. On the same day, he wrote a poem: Mourning for Yang Quan. Emotional, majestic, sad songs when crying, depressing and touching. This is not a poem written in ink, but blood and tears. If "Mourning for Yang Quan" is a burst of grief; Then, "Mourning Ding Jun" is a painstaking work. Ding Ling was kidnapped and Ying Xiuren was killed by reactionaries at the same time, which shocked the cultural circles and people at that time. This is also a criminal record of reactionary fascist rule. However, Ding Ling was arrested, and Lu Xun heard that he was killed. It has been more than a month. Unlike Yang Quan's sudden stabbing, Lu Xun's anger was carefully chewed. His mourning for "the mountain is too high to have a daughter", his lament for "Yao color condenses dust" and his resentment for the rule of "like the night sky" all show the depth of his thoughts. In a word, these mourning poems have important content of the times and the poet's unique emotional color.
Poems for relatives and friends, we mean inscriptions for young people studying medicine, preventing Yu Dafu from moving to Hangzhou, and giving Xu Guangping a mustard garden and so on. These poems can also be called political poems. They were also closely related to the revolutionary struggle at that time. In the old society, "saving the country by science" was the ideal of many patriotic and enterprising scientists. But under the reactionary rule, this can only be a fantasy. The country and people are in dire straits, so it is impossible to develop science, let alone save the country through science. Only by overthrowing the reactionary rule and changing the old system can the scientific cause get real development. "Inscription for Young Medical Students" points out the relationship between science and saving the country, commerce and politics. Although this is written for a young woman studying medicine, it has universal guiding significance. Lu Xun also expressed this idea many times in his essays. The significance of the poem exhorting Yu Dafu is by no means limited to Yu Dafu himself. In the fierce revolutionary struggle, many people really chickened out in the face of the white terror of the reactionaries. Especially with a comfortable and well-off life, it is easier for people to retreat. Yu Dafu left Shanghai, the center of cultural struggle at that time, and wanted to live a comfortable life in the lakes and mountains of Hangzhou, which was typical among some intellectuals at that time. Lu Xun gave poems to persuade him not to miss the life of "Chu and the sun" and "mountain fragrance", but to soar in the vast wind and rain. Lu Xun's advice was of typical significance at that time. The poems presented to Xu Guangping are mutual encouragement between ten years of hardships and old comrades. As Xu Guangping said: "When the world is cold, I have a lingering fear. I occasionally listen to good news and need to cheer up, so there is a saying of' share joys and sorrows'." It can be seen that this poem written by the couple is also a product of the times. Lu Xun's poems for relatives and friends are the product of the poet's profound insight and deep friendship, but they also bear the brand of that era.
In Lu Xun's old poems, there are many poems praising light, revolutionary strength and progressive thought. In those dark years, the night sky was like a stone, and there was sorrow everywhere. The poet is full of sadness and anger, but he is never pessimistic. With a pen like a rafter, he wrote such a poem: "Grass is rich in blood, and bloom is in the cold." The realistic military "encirclement and suppression" and cultural "encirclement and suppression" are cruel, but the poet has foresight and ideals. He is convinced that the result of two counter-revolutionary "encirclement and suppression" campaigns will be the growth of revolutionary armed forces and the development of revolutionary cultural undertakings. Lu Xun wrote down the main contradiction and the main aspect of contradiction in China society at that time-the direction of historical development with highly summarized poems. In the days of "seeing flowers all over the sky in the fog", Lu Xun asked the painter to "only learn from Zhu Mo as a spring mountain"; Poets also want intellectuals. Even if they "have no choice but to lose little Amy" and have a strict literary program, they should strive to spread the revolutionary truth of Marxism-Leninism-"but they will become migrants and spread fragrance". These poems all have the same meaning of praising light and revolution. The poem Untitled written by Mao Zedong, a Japanese friend, is more suitable for the poet to listen to thunder in the silence of the imprisoned land. Comrade Mao Zedong said: "This poem was written by Lu Xun in the darkest time before dawn in China." Yes, in the darkest days, the poet foresaw a ray of light at dawn in China. Some of Lu Xun's poems praised the friendship among the people of the world and publicized the spirit of proletarian internationalism. Especially in the poem Sanyi Pagoda, Lu Xun not only denounced the atrocities committed by the Japanese invaders, but also pointed out that people in the anti-Japanese and anti-aggression wars were "sincere and resolute fighters against the current". He is convinced that the people of China and Japan will one day "meet and laugh". Lu Xun's poems praising the light and revolution show that this poet is a great producer and a proletarian internationalist. He mastered the world outlook of dialectical materialism and historical materialism, and knew the real power to promote historical progress and the inevitable direction of historical development. So he can stand tall, see far, and have a grand mind standing at the forefront of the times. These poems by Lu Xun are full of high spirits, but still gloomy. When we say "depression", we mean "sinking" and the depth involved, and "depression" means hiding but not directly exposed.
In Lu Xun's old poems, there are still a considerable number of fierce attacks on reactionaries and various dark forces. They exposed the ferocity of the internal slaughter of reactionaries, such as Xiang Lingge and Untitled ("General Yu Yu with Many Flies"); They denounced the shamelessness of the reactionaries in surrendering to the outside world, such as songs of good deeds, students and jade buddhas. They pointed out the ugliness of the reactionaries' struggle for power and profit, such as Nanjing folk songs and the songs of war of words. They satirize the contemptibility of being a slave, such as Smell and New Year's Day. They denounced the evils of cultural "encirclement and suppression", such as "occasional success" and "feeling in autumn night" These poems describe the ferocious face of reactionaries from all angles and make a "record of the times."
In a word, Lu Xun's old poems are all political poems. No lingering songs, no sentimental moans. They "recorded" that era in many ways-the contradictions and struggles of that era, the development trend of that era and the spirit of that era. After several historical twists and turns, the poet's thoughts became more mature and profound. All these make Lu Xun's old poems both rich and profound in the history of poetry, and lyrical and depressed.
three
Lu Xun said in The Enemy of Poetry that "Poetry is to express one's enthusiasm"; In his letter to Tai Jingnong in 1936, he said that "people should be enthusiastic". In the preface of Yin Fu's poetry collection Baby Tower, Lu Xun praised his poems as "great love" and "a monument to hatred". It can be seen that Lu Xun believes that poets must have passion when writing poems. Without passion, there is no poem. However, Lu Xun believes that the poet's passion must be deep and restrained, and his expression should be graceful and restrained. In the third and second letters of The Book of Two Places, he has this passage:
That poem is full of enthusiasm, but this kind of fierce attack should only use prose, such as "Miscellaneous Feeling", and the words must be tortuous, otherwise it will easily cause disgust. Poetry is more permanent and not suitable for such a topic.
After the Shanghai case, there are often extremely sharp and chilling poems in weekly magazines, which are actually meaningless. As things change, they taste like chewing wax. I don't think it's appropriate to write poetry when feelings are strong, otherwise the edge will be too exposed and the "poetic beauty" will be stifled. This poem has this disease. For Lu Xun's words, our understanding is as follows: First, poets should have passion ("no lack of enthusiasm"), but this passion must be profound. What a poet should have is "enthusiasm from hot to cold" (Dostoevsky's stuff). The so-called "chill" here refers to calm and rational thinking. Lu Xun disapproved of shallow and incisive poems. Second, Lu Xun advocated in his poems that "word-making must be tortuous". Don't take everything in a glance, but stand up to people's chanting (that is, "more permanent"). Third, poetry must be art. It is meaningless to shout it out in anger at the moment, but it is likely that "feelings will move with the times, that is, they taste like chewing wax." Poetry must have its beauty. Lu Xun's aesthetic thought is also reflected in his views on essays. According to Feng Xuefeng in Memories of Lu Xun, Lu Xun appreciated Qu Qiubai's essays and thought that they were "sharp, clear and' really talented'." However, Lu Xun "also said that Comrade Qiu Bai's essays were not profound enough and implicit enough, and the second reading gave him a feeling of' everything in a glance'". It is Lu Xun's aesthetic thought that makes Lu Xun's poetry creation by no means sharp and chilling. The formation of the sullen style of Lu Xun's old poems is obviously inseparable from Lu Xun's aesthetic thought.
Reading Lu Xun's old poems makes people feel as eloquent and logical as reading his essays. Therefore, the capacity of Lu Xun's old poems is very large, giving people a rich and profound feeling. They are poetry prose, poetry prose. However, Lu Xun's old poems are different from philosophical poems that taste like chewing wax and are vivid. Argumentation, logic and artistic appeal are a major feature of Lu Xun's old poems. For example, in the poem "In Memory of Forgetting", the first couplet is about the poet's own long struggle in the long night, while the second couplet is about the fact that the poet is still struggling for power and profit by warlords and how many "motherly tears" are caused by it. The triple is the logical development of the "121" thought, and it is the poet's attitude and determination to face the reality: "Endure watching his peers become new ghosts and look for poetry in anger." This is the highest emotional point of this poem and the main theme of this poem. And every poem is almost a description of the image. The argument of "preventing Yu Dafu from moving to Hangzhou" is profound and has the power to convince people by reasoning. The poem first talks about the political environment in Hangzhou, Zhejiang Province. "The money king is still there", so why move to the black? It is said that the life of "harmony but difference" and "fragrance all over the mountain" is not worth nostalgia; Then, in the case of "the tomb of Yue was ignored", it was inspired by the metaphor of the ancients. Finally, I suggest that it is better to create in a stormy environment. The logic of this poem is very strict. Untitled (inscription for young people studying medicine) is just four words and six sentences, pointing out that on the one hand, it is "killing people" and on the other hand, it is "saving people for medicine". If this "murderous" society is not completely reformed, it will only be a "small supplement" to "save people with medicine". The reason is thorough and profound, which can make people draw inferences from one another. The combination of argument, logic and artistry of Lu Xun is also an important aspect that makes his old poems rich, profound and intense.
Lu Xun's old poems are rich, profound, angry and gloomy, and because his poems can be highly summarized and condensed, they often have profound meanings and last forever. Lu's "Wen Fu" said: "It is a good warning to make a movie important." This shows the importance of epigrams. The poet Yu Xie quoted Xun as saying: "Without warning, the article is not enough to be handed down from generation to generation, and the cover cannot stir the world." There are many epigrams in Lu Xun's old poems, such as the people's motto recommended by Comrade Mao Zedong: "A thousand fingers point, bow your head and be a willing ox." Another example is: "The blood is fertile and the grass is strong, and the ground is open in the cold." "Ruthlessness is not necessarily a true hero. How can Reiko Kobayakawa not be a husband? " "I have a vast heart and a vast space, listening to thunder in a quiet place." They are all aphorisms that people recite.
Lu Xun's old poems are also good at using metaphors and metaphors to express rich and profound content and emotional resentment and depression. Lu Xun's "Xiangling Pavilion" is a metaphor. It describes the mythical Xiangling who went to the Xiangjiang River to freshen up. At this time, Xiangjiang River was red with blood because of the massacre of reactionaries, which was used to expose the bloody rule of reactionaries. "To the Painter" is a metaphor: first, it is a metaphor of the dark rule of reactionaries with "the wind produces white, the forest is dark, and the fog covers the sky with flowers"; "Just learn from Zhu Mo as a spring mountain" means that the power of light still exists. The poet is "silent and clear-headed": seeing the light in the dark. Many famous sentences of Lu Xun, such as "Blood is thicker than grass", are also figurative. Lu Xun often uses natural scenery such as "night", "wind and rain" and "autumn" to compare and symbolize the dark old society.
Lu Xun often used the method of contrast in his old poems, that is, what the ancients called "emphasizing reason and restraining reason". The first two sentences in Mourning for Yang Quan, "There is still old pride, and Bloom has lost his mind", mean that the reactionaries have killed so many people, and when he heard about the murder, he "gradually became numb, not surprised and speechless", but when he thought of this time, he was shocked and speechless: "When did you cry for Jiang Nanyu and the people?" This contrast points out that reactionaries are more ferocious than expected, and also shows that the poet's grief is not ordinary grief. The suppression of the first two sentences made the last two sentences plummet, and the poet's strong feelings of grief and indignation poured down like a waterfall, which was really touching. The first two sentences of the poem Untitled, "There are thousands of faces without wormwood, but they dare to sing and mourn", wrote that under the reactionary rule of reactionaries, they were "imprisoned tighter than canned food" and even the people's cries could not be heard. The last two sentences are the opposite of the first two: "I have a broad mind, and I listen to thunder in a quiet place." This shows that the people's anger is burning, the fire is running, and silence is the eve of the revolutionary storm! This poem infects readers with the firm confidence of revolutionary optimism. Lu Xun's way of promoting the old and restraining the old makes his old poems more prominent.
Lu Xun's old poems are also characterized by irony. The ironic life is real. (What is "irony"? ) Lu Xun is good at grasping typical people and things for irony. Several poems in folk songs belong to this kind of irony. Lu Xun sometimes uses the technique of sketching to achieve the purpose of satire. For example, "To Wu Qishan" wrote about various phenomena of "seeing China every day", but the poet did not add any comments, but only outlined the faces of warlords and politicians. Another example is "Smell": "Deng Hua takes photos of the banquet, and the charming girl dresses up as a jade bottle. Suddenly, I remembered my feelings, kissed the earth and pretended to see Luo socks cover up the traces of crying. "It is also a stick figure, but there is a contrast, which shows the luxury of one party and the lack of information on the other, satirizing the dissoluteness and shameless of reactionary giants and fishermen. Lu Xun used the method of contrast to achieve the effect of irony, such as: "A few spring waves, everything is quiet Y and N @ 3 Y and N @ 3." "The front door of the special motorcade is full of hapless college students. "Wait a minute. The satirical features add to the angry and depressed style of Lu Xun's old poems.
Lu Xun said in the twelfth letter of One Book in Two Places that he "makes good use of irony". Lu Xun also used irony in old poems. One situation is to emphasize and set off the positive meaning with derogatory terms, such as "there is no way to escape from the arrow of God in Lingtai", and to express the firmness and depth of the poet's love for the motherland with the word "escape"; It is also like "hiding in a small building to become a unity", using the word "hiding" to express your determination to hold your ground and go all out to fight. Another situation is to ridicule and satirize negative things with praise, like the last couplet of Xiangling's song: "After the drums, Yao people disappear, and peace is like a full autumn gate." The bloody slaughter of the reactionaries left the mountains alone, the incense died, the river turned red and the people were desolate. This is their political achievements and their "Taiping imaging". Such irony is extremely powerful. "Making good use of irony" makes Lu Xun's old poems rich and profound, but it is also irritating, depressing and moving.
In this way, Lu Xun used a variety of artistic techniques, which made his old poems form a rich, profound and depressed style.
four
The formation of a writer's or poet's style is closely related to the national tradition and cultural tradition he carries. Among the outstanding writers and poets in ancient China, Lu Xun's creation of old poems was obviously influenced by Qu Yuan. Lu Xun loved Qu Yuan's works from his youth. According to Xu Shoushang's impression of his best friend Lu Xun, when studying in Japan, Lu Xun specially bought a Japanese-printed thread-bound book Li Sao. He called Li Sao "a masterpiece of self-narration and satire". He can recite many paragraphs. Later, in the "Tiger Tail" in his study and bedroom in Beijing, Qiao Dazhuang's Sao couplets have been hanging on the wall: "Look, don't be forced; The first sound of fear @ (4)! " He also extracted a poem from Li Sao as an inscription on vagrancy, expressing his feelings of "searching up and down" on the revolutionary road in China. Because Lu Xun wrote Lotus Man when he was young, many of his old poems almost have the shadow of Qu Yuan. The Book of Sacrificing Nephew can be regarded as a sequel to Nine Chapters and Nine Songs. The articles such as Send E Jun to Return to China with Lan, Xiangling Song, Untitled (Falling into a Cave), Mourning Ding Jun, Untitled (Picking Flowers for Qingming) not only use the language of Sao style in wording and sentence making, but also are very close to the artistic conception of poetry. As for writing poems with Qu Yuan's fragments, there are even more.
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 a letter to Xu Shoushang in 19 1 1, he asked Xu to search Li He's poems. Lu Xun's articles also mentioned Li He many times. Lu Xun once said in a letter to Yamamoto Chuzhi in 1935: "When I was young, I liked to read 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. "It can be seen that Lu Xun's interest in Li He is limited. However, Li He's imaginative power, the use of symbols and metaphors, and the emphasis on language tempering all have a certain influence on Lu Xun's old poems. 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. It is sentimental for Li He to use these words to write about the time when the princes were separated and the eunuchs were authoritarian. Under the fascist rule of reactionaries, it is outrageous that Lu Xun used these words to describe that society. Li He was 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's works and birds and houses when he was young that even Li He liked them.
Someone once compared Lu Xun's old poems with Li Shangyin and Du Fu, but they were all opposed by Lu Xun. However, there was an ancient great poet who was influenced by him in the creation of old poems. Although Lu Xun didn't mention it much, that was Gong Zizhen (Ding 'an). According to an old comrade, one day in the 1960s, Comrade Mao Zedong invited several literary and art comrades to talk about Lu Xun's old poems. Comrade Mao Zedong said: Lu Xun's old poems were obviously influenced by Gong Zizhen, but why did Lu Xun seldom mention Gong Zizhen in his articles? It is true that Lu Xun's article hardly mentions Gong Zizhen. But Lu Xun once told people orally that he liked Gong Zizhen. According to Appendix 1 of Supplement to Complete Works of Lu Xun by Comrade T ā o @ 5, "As for a poem by Mr. Ding Hao, this is the time when I was talking about an old poem-I remember that I had dinner at Dingpan Road and hired a car to go back to my apartment at the bottom of Sichuan North Road. I was with him, listening to him in the car. He praised Ding 'an No.7, and Gong Zizhen was in the decline of feudal society. He is "worried and angry" about the decline of the country ("On the occasion of B and C, I will discuss 9"). His poems, especially the seven-character poem "The Miscellaneous Things in the Sea" written after he abandoned his post, are for the sake of poetry, vigorous and vigorous, graceful and depressed. In Lu Xun's later seven-character poems, we can see traces of Gong Zizhen's influence. Such as mourning Yang Quan. Xu Shoushang said: "This poem is brilliant and innovative, such as Gong Zizhen." Read Lu Xun's Untitled Poem (Wan Jia Mo Mian), and then read Gong Zizhen's Jihai Miscellaneous Poem: "The anger of Kyushu depends on the wind and thunder, and the Y ρ n of Wan Ma Qi @ [6] is sad! I advise god to stand up again, let go of his talents, and don't stick to a pattern. " From this, we can realize some artistic connections between them. It is worth noting that Gong Zizhen is also a Qu Yuan school. There are many places in his poems that praise Qu Yuan and read Chu Ci. For example, his admiration for Zhuangzi and Li Sao is "six arts, but Xu Zhuang is the neighbor, and the fragrance disappears and the jade dies" (distinguishing immortals). In particular, he said that "Zhuang Sao, two ghosts, deeply entrenched in the liver and intestines" ("Spring and Autumn Fifteen Poems"), which shows that Li Sao has a far-reaching influence on him. Lu Xun's Ding Haoan is as artistic and aesthetic as Lu Xun's good Li He. This is very noteworthy.
It must be pointed out that Lu Xun's study of classical poetry is not limited to one person or several people, but focuses on integration, absorbs their essence and forms his own unique style. However, it is undeniable that it is the ancient positive romantic poets who clearly express their hobbies and accept their influence. The general style of Lu Xun's novels, essays and poems is the same, but novels are different from essays and poems, and essays and poems are also different. Most things in the world are complicated. A writer's style can't be single. The great realistic novelist's poetry creation is obviously influenced by romanticism. Isn't this worth pondering by researchers?