19 18, Lu Xun published his first vernacular novel Diary of a Madman in New Youth magazine, which is also the earliest modern vernacular novel in China, marking the development of China's novels has entered a brand-new era. This novel embodies all Lu Xun's painful life experiences from childhood and all his painful thoughts on the modern destiny of the Chinese nation. Through the mouth of a madman, it denounced China's feudal autocracy for thousands of years as a history of "cannibalism" and sent out "Never been like this?" Seriously questioned, shouting: "Save the children!" It can be said that Lu Xun's Diary of a Madman is a movement against the traditional feudal autocratic culture and a declaration calling for the reconstruction of China's modern new culture. It used the sharp voice of the insulted and damaged Chinese nation to declare the will and belief of the Chinese nation to rise again in the whole world.
After Diary of a Madman, Lu Xun published several short stories in succession, and later compiled two collections of short stories, Scream and Wandering, which were published on 1923 and 1926 respectively.
Lu Xun's novels are few in number, but they are of great significance. China's novels, only when he arrived at Lu Xun's place, focused on the broader subject area of the bottom of society and described the daily life and mental state of these bottom people. This is inseparable from Lu Xun's creative purpose. Lu Xun said: "My materials are mostly taken from the unfortunate people in the morbid society, aiming to expose the suffering of the disease and attract the attention of treatment." How to start a novel with a southern accent and a northern accent? This creative purpose of expressing and improving life made him describe the most common tragic fate of some of the most common people, such as Kong Yiji, Hua Laoshuan, Shan Sisi, Ah Q, Xianglinsao and Ai Gu. These people live at the bottom of society and need sympathy, pity, care and love from people around them most. But in China society at that time, people gave them insults and discrimination, indifference and ruthlessness. Is such a society a normal society? Is this interpersonal relationship reasonable? What saddens us most is that they live in a loveless world and are tortured by life. But they also lack sincere sympathy for each other. They take an indifferent attitude of watching or even appreciating the tragic fate of their own kind, and vent their pent-up resentment when they are oppressed and bullied by bullies weaker than themselves. In Kong Yiji, there are short-sleeved guests who maliciously ridicule Kong Yiji; In The True Story of Ah Q, others bullied Ah Q, and Ah Q bullied a little nun who was weaker than himself. In Blessing, villagers in Luzhen appreciate Sister Xianglin's tragedy as an interesting story ... All this makes people feel a chill. What a heartless world this is! What a twisted life this is! Lu Xun's attitude towards them is "mourn their misfortune and anger their indisputable". Lu Xun loves them, but he wants them to realize that they can stand on their own feet, hold their heads high and fight for their happy future.
In addition to the social figures at the bottom, Lu Xun also created some newly awakened intellectuals. These intellectuals have a need for progress, a good desire to improve society, sincere feelings for others and themselves, and sincere love, but the society at that time could not tolerate them. "Madman" cursed cannibalism, hoping that everyone would become a "non-cannibal" and a "real person". People around him regarded him as a madman and wanted to get rid of him quickly (Diary of a Madman). Yu Xia died for society. Tea drinkers called him a "madman", while Hua Laoshuan cured his son's illness (medicine) with his blood. Wei cared about China society, but society persecuted him. When he stopped caring about China society, people around him came to curry favor with him (the lonely man). Lu in On the Restaurant, Zi Jun and Juan Sheng in Mourning for the Past all pursued and struggled for the society and themselves, but in the stagnant and backward society of China, they all experienced a tragic fate. When Lu Xun sympathized with these intellectuals, he sympathized with China society and cared about the fate of the Chinese nation, because only these intellectuals were still struggling for social progress at that time.
Lu Xun has an abhorrent attitude towards two kinds of people in society, that is, dignitaries and hypocrites. Ding in Kong Yiji, Grandpa Zhao in The True Story of Ah Q, Master Lu Si in Blessing, Guo Laowa in The Ever-burning Lamp, and the seven great men in Divorce are all such powerful figures. They were powerful in China society at that time, but they didn't really care about the fate of others, and they didn't have the slightest enthusiasm for social progress. They only care about their own power and status, and they are selfish, hypocritical and cold, which hinders the progress and improvement of society. Siming in soap and Gao Li Gao are hypocrites and hypocrites. They claim to care about social morality, but in fact they are all immoral people.
Lu Xun's novels are about the ordinary life of ordinary people, without bizarre stories and fascinating plots, but full of infinite artistic charm. Where does this charm come from? It comes from his detailed description of people and life and his incisive description of people's subtle psychology. This requires superb artistic skills. There is always a "joy of discovery" when reading Lu Xun's novels. The picture is an ordinary picture, and the characters are ordinary characters, but we can always notice the characteristics that we don't usually notice and perceive the psychological activities of the characters that we don't usually notice in such an ordinary picture and ordinary characters. It is precisely because of this meticulous description and incisive psychological portrayal that the artistic charm of Lu Xun's novels has become more mellow as time goes by. In youth, we are not deeply involved in the world and have no more personal life experiences. Lu Xun's novels enter our sensory world as a whole, but we can't fully feel how rich the connotation hidden in the characters and pictures we feel. With the increase of our social experience and the deepening of our life experience, the connotation of these characters and pictures will continue to sprout from it. In order to reveal the different meanings of different life scenes and the fate of different characters, the structure of Lu Xun's novels is changeable, with almost one style and one writing style. Diary of a Madman is different from The True Story of Ah Q, Kong Yiji is different from White Light, hometown is different from Blessing, and lonely people are different from Mourning for the Past. Not only the structural style is different, but also the pitch rhythm is different. Kong Yiji is so simple and cold, while Mourning for the Past is so tortuous and profound. Lu Xun's novels are novels and poems, with deep artistic conception, cold outside and hot inside, and the use of national language skills to achieve perfection.
While creating Scream and Wandering, Lu Xun also created a collection of essays, Flowers in the Morning and Flowers in the Evening, and a collection of prose poems, Weeds. The former was published in 1928 and the latter in 1927. If the novels in Scream and Hesitation are Lu Xun's grim portrayal of real social life and are intended to alert the sleeping people, then the prose in Morning Flowers is Lu Xun's warm memories and deep memory of the people and things that nourished his life. When I was a child, Mr. Fujino, the nanny's mother, gave him sincere care in a discriminated environment. Fan Ainong, an old friend with a rough and arrogant life, gave him a "Herbal Garden" full of infinite fun, as well as folk dramas and folk entertainment activities that attracted his curiosity ... All these revealed bright colors and warmth in this sinister world background, which nourished Lu Xun's life. These essays are lyrical, narrative and argumentative, sometimes like a calm harbor, sometimes like a rolling sea, sometimes like a rushing river, and sometimes like a winding stream, which embodies the artistic achievements of Lu Xun's prose creation. Different from the clear and meticulous prose in Morning Flowers and Evening Picks, the prose poetry in Weeds presents an ethereal and fantastic artistic conception. They are like clouds of emotion, spinning and floating in the air, changing into various unexpected shapes. Lu Xun's inner anguish turned into a dream and a transcendental imagination, which made Wild Grass a wonderful flower in China's modernist literature. Lu Xun once said to others, "My philosophy is all in Weeds." Lu Xun's deepest emotional experience and the most mysterious philosophical sentiment are conveyed through this peculiar artistic means. Lu Xun's artistic creativity is amazing.
Lu Xun's essays should first fully reflect his creative spirit and creativity. "Essays" have existed since ancient times, and similar examples can be found in foreign essays. However, only in the modern cultural history of China, in the hands of Lu Xun, did the "essays" show its unique artistic charm and great ideological potential. Lu Xun's essays can be said to be an "epic" of China's modern culture, which not only recorded Lu Xun's fighting achievements in his life, but also recorded the ideological and cultural history of China at that time. Different from western culture, China ancient culture was ruled by a religious culture, that is, the Christian culture in the Middle Ages. As long as we get rid of the bondage and imprisonment of this religious culture, modern western culture will have the power to develop. The ancient culture of China is composed of different cultures. In the process of development and evolution for thousands of years, various cultures have blended with each other. When modern intellectuals in China want to create new cultures and new ideas that adapt to the modern development of China, they encounter slanders and attacks from different classes, figures, angles and ways. Lu Xun's essays are naturally formed in this ideological and cultural struggle with no fixed front and no fixed enemies. From the May 4th Movement, Lu Xun began to struggle against various arguments against the new culture in the form of essays, but he was not conscious at that time. Later, some people began to laugh at him as an "essayist", and he became more aware of the power of "essays" and began to consciously engage in essay creation. Lu Xun said that essays are "nerves of induction" and can "react or fight against harmful things immediately", thus opening up a tortuous road for the development of new culture and new ideas in the thorns of old culture and old ideas, so that they can exist, develop and grow. Lu Xun wrote 65,438+in his life, such as Grave, Hot Wind, Collection of Gai Hua, Collection of Continued Covering Flowers, Three Ji Xian, Collection of Two Hearts, Mobilizing the South to the North, Pseudo-Free Book, Quasi-Romantic Talk, Lace Literature, Essays on Cutting Pavilion, There are ruthless revelations, angry accusations, sharp criticisms, bitter satires, witty humor, meticulous analysis, decisive judgment, passionate expression, painful cries, cordial encouragement, enthusiastic praise, brush strokes, flying words and various forms and changes. It completely broke the shackles of the "gentle and honest" aesthetic style of China's ancient prose, expressed the feelings and emotional experiences of modern people more freely and boldly, and opened up a broader road for the development of China's prose. The status of Lu Xun's essays in the history of modern literature in China is undeniable.
In his later years, Lu Xun also completed a novel collection, New Stories (published by 1936). This collection of novels is based on China's ancient myths and legends and historical facts, but it does not stick to the original story, but adds Lu Xun's own understanding and imagination, and some of them also adopt the writing technique of blending ancient and modern, so that ancient people and modern people can have a direct dialogue. The purpose of Lu Xun's doing this is to let us feel and understand the true face of some real people through the feelings and understanding of real people and the ancients. Through the novels in New Stories, Lu Xun actually reconstructed the cultural history of China, revealed the foundation of the existence and development of the Chinese nation, and reshaped the image of historical figures sanctified by feudal literati in China. Mending the sky can be regarded as a "genesis" of the Chinese nation. In Lu Xun's view, it is not the ancient sages and emperors who truly embody the fundamental spirit of the Chinese nation, but the Nu Wa who created the Chinese nation. She is the source and symbol of Chinese national vitality. Running to the Moon is about the tragedy of an ancient hero, which saved mankind in nine days, but those selfish and narrow-minded people don't want to inherit and carry forward his heroic spirit, just want to use him to achieve their selfish and narrow-minded goals. He was assassinated by his own students and abandoned by his wife. Casting Sword shows the theme of revenge of the oppressed on their oppressors. "Water Control" and "Non-attack" praised the politicians and thinkers who practiced in ancient China. Yu He is the backbone of the Chinese nation. Confucius, Laozi, Zhuangzi, Boyi and Shu Qi, historical figures, have really become funny but still lovely living figures in Lu Xun's works. Lu Xun's New Stories expresses serious themes in an absurd way, and creates a brand-new way of writing historical novels.
Lu Xun's creativity in thought and art is amazing. He has his own brand-new creations in short stories, essays, prose poems, historical novels and essays. This makes him the greatest writer in China in the 20th century and a world-class literary master. His life is a life of struggle for the survival and development of the Chinese nation. He used his pen to maintain social justice, resist power, protect youth and cultivate new forces. In the early stage, he enthusiastically supported the just struggle of young students, exposed the criminal acts of the Duan government in suppressing the student movement and creating the "March 18th" tragedy, and wrote a series of shocking articles such as "In Memory of the King". Later, he opposed the Kuomintang government's bloody suppression of * * * producers and progressive youth, joined the League of Chinese Left-wing Writers and the League of Civil Rights Protection, and wrote a series of articles full of righteousness and justice, such as Commemorating Forgetting. "Lu Xun's bones are the hardest. He's not servile. This is the most precious character of the colonial and semi-colonial people. " (Mao Zedong: On New Democracy)
1936 65438+ 10/9, Lu Xun died in Shanghai. Thousands of ordinary people came to see him off, and his coffin was covered with a banner with the words "soul of china".
work
Shout (collection of short stories) 1923, trendy society.
A Brief History of Chinese Novels (Volume I) 1923- 1924, Xinchao Society.
Hot air (essay) 1925, Beixin
Wandering (short story collection) 1926, Beixin
Gai Hua Ji (Essay) 1926, Beixin
Gai Hua's Chronicle (Essay) 1927, Beixin.
Grave (paper, essay) 1927, unnamed society.
Weeds (Selected Prose Poems) t927. Beixin
Flowers in the morning and flowers in the evening (essays) 1928, unknown society.
Gangji (Essay) 1928, Beixin
San Xian Ji (Essay) 1932, Beixin
Two Hearts (Prose Collection) 1932, He Zhong Bookstore.
Selected Works of Lu Xun 1933, Tianma
Book of Two Places (Collection of Letters) co-authored with Matsui, 1933, Guangqing Bookstore.
Pseudo-Free Books (Essay) 1933, Guangqing Bookstore.
Selected Works of Lu Xun's Miscellaneous Feelings, edited by Qu Qiubai, 1933, Guangqing Publishing House.
Southern accent and northern assembly (anthology) 1934, wentong publishing house.
1934, the collection of He Zhong Bookstore.
Zhuntan (essay) 1934, Bookstore.
Outside the collection, edited by Yang Jiyun, revised by Lu Xun, 1935, People's Book Company.
About Foreign Languages (Thesis) 1935, Tianma
New stories (novel collection) 1936, Vincent.
Lace Literature (Essay) 1936, Lotus Bookstore.
Chejiege Essay (Essay) 1936, Sanxian Bookstore.
Night Notes (essays, later edited as the end of Qi Jieting's Essays) 1937, Vincent.
Two Essays on the Pavilion of Anta (Essays) 1937, Sanxian Bookstore.
At the end, the essay (essay) 1937, Sanxian Bookstore.
Lu Xun's Letters (photocopy) edited by Xu Guangping, 1937, Sanxian Bookstore.
Complete Works of Lu Xun (1-20 volumes, including works, translations and ancient books) 1938, Complete Works of Lu Xun Publishing House.
Extracorpora (comprehensive collection) 1938, Lu Xun Complete Works Publishing House.
Outline of China Literature History (Literature History) 194 1, Complete Works of Lu Xun Publishing House.
Supplement to Complete Works of Lu Xun, edited by Tang Tao, 1946, Shanghai Publishing Company.
Lu Xun's Letters, edited by Xu Guangping, 1946, Complete Works of Lu Xun Publishing House.
Lu Xun's Diary (photocopy) 195 1, Shanghai Publishing Company; Print, 1959, Humanities
Selected Works of Lu Xun 1952, Enlightened.
Lu Xun's Novels 1952, Humanities
Supplement to Complete Works of Lu Xun, edited by Tang Tao, 1952, Shanghai Publishing Company.
Wu Yuankan's Supplement to Lu Xun's Letters, 1952, Shanghai Publishing Company.
Complete Works of Lu Xun (Volume1-LO)1956-1958, Humanities
Selected works of Lu Xun. (Volume 1-2) 1956- 1958, Zhongqing
Historical changes of China's novels (literary history) 1958, Sanlian.
Selected Works of Lu Xun (Volume I) 1959, Humanities
Letters from Lu Xun (to Japanese friend Masuda) 1972, People's Daily.
Poems of Lu Xun 1976, cultural relics; 198 1, Shanghai People's Fine Arts Publishing House
Lu Xun's collection of letters (one volume and two volumes 138 1 letters except two places) 1976, humanities.
Lu Xun's lost article 1976, Liberation Army Daily.
Lu Xun's Letters (to Cao Jinghua) 1976, Shanghainese.
Manuscripts of complete works of Lu Xun (8 letters and 6 diaries) 1978- 1980, cultural relics.
Lu Xun's letter to Xu Guangping 1980, from Hebei.
Complete Works of Lu Xun (Volume1-16)1981,Humanities
The Complete Works of Lu Xun Volume I (Hot air shouting at the grave)
The Complete Works of Lu Xun Volume II (New Story of Wandering Weeds Picking Flowers Late)
The Complete Works of Lu Xun Volume 3 (Gai Hua Ji Gai Hua Ji is a sequel)
The Complete Works of Lu Xun Volume 4 (Three Idles and Two Hearts Set North and South)
The Complete Works of Lu Xun Volume 5 (Pseudo-Free Books and Quasi-Romantic Talks on Lace Literature)
The Complete Works of Lu Xun, Volume VI (Also on Introduction to Pavilion Essays, Pavilion Essays II and Pavilion Essays Final Draft)
The Complete Works of Lu Xun Volume 7 (Excerpts from various episodes)
The Complete Works of Lu Xun Volume 8 (Supplement)
Chronological life
188 1 year.
On the third day of August (September 25th of Gregorian calendar), he was born in Dongchangfangkou, Shaoxing, Zhejiang. The surname is Zhou, the word Yucai, and the nickname is Zhang Shou.
1886 Six years old.
When I entered school that year, I recited "Jian lue" by Mr. Shu Zuyu Tian.
When he was five or six years old, all religious parties called him "Hu Yangwei". Known for its small size and flexibility.
1888 Eight years old.
1 1 month, sister1month died. When she was seriously ill, her husband sobbed in the corner of the room. Mother's wife asked her why, and replied, "It's for her."
On the first day of New Year's Day, the elders of our family got together to push the nine rows, and my father Boyi was with Yan. Mr. Wang watched silently, and from Mr. Bovernon's inquiry, he said, "Who do you want to win?" Mr. Wang immediately said to him, "May everyone win."
1892 Twelve years old.
In the first month, I went to Santan Yingyue to learn from Mr. Shou Jason Wu.
At school, I like painting and collecting scrolls in my spare time, but I am very disgusted with the only child of "Lao Lai entertains his relatives" and "Guo Ju buries his son" in "Twenty-four filial piety pictures". My husband's surname is Lu, Anqiaotou, and he lives in one family. When he was young, he often went with his mother-in-law and got in touch with nature in the countryside, which had a great influence. The people described in "Social Drama" are all the scenery around Anqiaotou, when they were eleven or twelve years old. My family moved to Huangfuzhuang and Xiaogaopu.
On December 30th, my great-grandmother Dai Taijun died at the age of 79.
1893 thirteen years old
In March, my grandfather introduced Fu Hong and Ding You and returned from Beijing.
In autumn, Xie Fuguong went to prison because of something. His father, Bo Gong Yi, was seriously ill, and his fortune declined. He went to high-quality stores and pharmacies for many years.
1896 Sixteen years old
On the sixth day of September, my father Boyi died at the age of 37. After my father died, it became more and more difficult at home.
1898 18 years old
In March, he went to Nanjing and was admitted to Jiangnan Naval Academy.
1899 Nineteen years old
In the first month, I switched to the Road Mining School affiliated to Jiangnan Lushi School. I didn't review my lessons, but I was among the best in every exam. After school, I need to read newly translated books, especially good novels, and sometimes I go horseback riding.
190 1 year I was twenty-one years old.
/kloc-in October/February, I graduated from Railway and Mining School.
1902 Twenty-two years old.
In February, Jiangnan DuDu Department sent him to study in Japan and entered Tokyo Hong Wen College. I like reading books on philosophy and literature after school, especially paying attention to human nature and national character.
1903 Twenty-three years old.
I wrote an article for Zhejiang Trend Magazine in 1998. Autumn, translated "Travel Notes on the Moon".
1904 Twenty-four years old.
On June 1, my grandfather Fu Jie died at the age of 68.
In August, I went to Sendai to study medical school.
1906 Twenty-six years old.
Go home in June and marry Ms. Zhu. In the same month, I returned to Japan to study literature and art in Tokyo and stopped studying medicine.
27, 1907
That summer, I planned to start a literary magazine called "New Life", which was not printed because of lack of money. Later, I wrote an article for Henan magazine.
1908 Twenty-eight years old.
At that time, he studied under Mr. Zhang Taiyan and became a member of the Guangfu Association, translating foreign novels with his second brother.
1999 Twenty-nine years old
Two volumes of foreign novels were printed this year. He returned to China in June and worked as a physiological chemistry teacher in Zhejiang two-level normal schools.
19 10 Thirty years old
On the fifth day of April, my grandmother Jiang Taijun died at the age of 69.
In August, he served as a teacher and supervisor of Shaoxing Middle School.