Lu Xun has made great contributions in many fields, such as literary creation, literary criticism, ideological research, literary history research, translation, introduction of art theory, introduction of basic science and research on ancient books collation. He had a great influence on the development of China's social ideology and culture after the May 4th Movement, and enjoyed a high reputation in the world literary world, especially in the fields of Korean and Japanese ideology and culture. He is known as "the writer who occupied the largest territory on the East Asian cultural map in the 20th century".
Style of works
1, novel style
Lu Xun's novels are unique in material selection. In the choice of themes, Lu Xun reformed the mode of choosing only "brave men, thieves and robbers, monsters and immortals, talented people and beautiful women, followed by prostitutes and lackeys" in classical literature, and created two major themes of modern literature with "for life" as the enlightenment purpose. His materials "are mostly taken from the unfortunate people in the sick society." Lu Xun has an extremely unique vision in dealing with these subjects.
When observing and expressing his hero, he has his own unique perspective, that is, he always pays attention to the mental "diseases" of intellectuals and farmers in the "sick society". Therefore, in Hometown, the most shocking thing is not the poverty of the leap soil, but the mental numbness shown by his "master". The exploration of the subject matter of intellectuals focuses on their mental trauma and crisis. For example, in the dining room, we saw that the heroes who fought alone in the Revolution of 1911 could not get rid of the lonely fate, returned to the original point under the oppression of the powerful feudal tradition, and consumed their lives in decline.
Lu Xun's reform evolved into two novel plots and structural modes: "seeing/being seen" and "going home" in Scream and Wandering. In the novels presented to the public, everyone only plays the role of "watching", and the relationship between them is only "watching" and "being watched", thus forming the binary opposition between "watching" and "being watched", which is manifested in the Diary of a Madman, Kong Yiji, Blessing and other novels.
In the mode of "returning home", Lu Xun tells other people's stories as well as his own, which permeates and influences each other and forms a polyphony. For example, in Blessing, he talked about the triple relationship of "I", "Sister Xianglin" and "Lu Zhen", including the stories of "I" and "Lu Zhen" as well as the stories of Sister Xianglin and Lu Zhen. The two stories are connected in series, and the soul of "I" is tortured by Xianglinsao's question, thus revealing the internal relationship between "I" and the traditional spirit of Luzhen.
Novels similar to this model include Hometown, Lonely Man and In a Restaurant. In addition, on the one hand, Lu Xun has been exploring the form of theme infiltrating into novels. In On Restaurants and the Lonely, the narrator "I" and the novel characters are two different sides of "self" or two sides of internal contradiction, so the whole article has the nature of self-soul dialogue and mutual refutation. On the other hand, Lu Xun is also pursuing a subtle, restrained and concise language style.
He once said, "I try to avoid nagging in writing. I just want to convey my meaning to others, so I'd rather have no foil." In this regard, when introducing his experience in writing novels, he also said that "it is very frugal to draw a person's characteristics, and it is best to draw his eyes." "China's old drama has no background. There are only a few main characters on the flower paper sold to children in the New Year (there are many backgrounds on the flower paper now). I'm sure this method suits my purpose. " This also shows that Lu Xun pays attention to the mental outlook of the characters when describing them, and attaches great importance to the artistic interest of farmers in the description.
Lu Xun studied the artistic features of old plays and New Year pictures that farmers loved, and applied them to his own artistic creation, which made his novels show strong national characteristics. However, he used the artistic experience of poetry, prose, music, art and even drama for reference to create novels, and tried to integrate them, so poetic novels (mourning poems, social dramas, etc.) appeared. ), prose novels (rabbit and cat, duck comedy, etc. ), even drama novels (rise and fall)
In 1930s, Lu Xun's creative energy mainly focused on essays. However, he did not forget the creation of the novel and contributed his last innovative work, The New Story. This collection of novels still shows Lu Xun's imaginative power and strong creativity: it has made a new impact on the creative norms of China's modern novels created in the midst of shouting and hesitation, seeking a new breakthrough.
In New Stories, Lu Xun consciously broke the boundary between time and space, and adopted the method of "blending the ancient and the modern": in addition to the historical records of the main characters in the novel, he also created some minor dramatic interspersed characters, adding a lot of modern language, plots and details to their words and deeds. Use modern language to play freely and ridicule and expose reality with a "slick" attitude.
At the same time, there are "solemn" and "absurd" colors and intonation melodies in many articles, which complement each other and penetrate and digest. For example, in "mending the sky", the magnificence of Nu Wa's nature is desirable, but in the end, it is extremely absurd for future generations to camp on the belly of a dead body under the banner of "mending the sky by creating people". This absurdity makes the sense of greatness in the last article disappear and become a kind of historical sorrow. ?
2. Prose style
Lu Xun devoted most of his life and energy to the creation of essays in his life, especially in the most mature period of his later thoughts. His article is extremely critical. Lu Xun once divided it into "social criticism" and "civilization criticism", emphasizing the connotation and function of "criticism" in essays.
Open 14 essays published by Lu Xun before his death in turn, and you can see a chronicle of ideological and cultural struggles that are constantly criticized, debated and countered ...: from the criticism of feudal ethics and old traditions in Hot Wind to the debate with the retro school, and then to the protest against the fascist dictatorship of the Kuomintang government and China's production.
The unyielding spirit of "if you can't defeat the enemy, you can't stop fighting" in Lu Xun's essays is fundamentally opposed to the tradition of "forgiveness" and "moderation" of intellectuals in China culture and China scholar-bureaucrat culture, which reflects the rebellion and heterogeneity of Lu Xun and his essays.
Lu Xun's criticism is different from the general ideological criticism. He always focuses his criticism on people, on people's psychology and soul: this is a kind of writer's care. As Lu Xun himself said: "My habits are not very good. Every time I refuse to believe the superficial things, I often have "doubts". So he is most concerned about people's hidden psychological state, even his own unconsciousness.
For example, in Lu Xun's essay On Cao Cao, he saw the twisted and despicable rebellious psychology caused by the feudal hierarchy and family status behind the "national scolding" that China people are used to. Lu Xun also put forward a "backward-pushing" way of thinking, that is, "positive articles look at negative ones", and wrote some essays based on this, such as "Little Miscellaneous Feeling": "Those who call themselves thieves don't have to guard against it, but they are good people; Those who claim to be gentlemen must guard against it and become thieves. " All this is deeply creepy and naturally "malicious".
Lu Xun's essay thinking is also non-standard. He often found another way, was ingenious outside the conventional thinking line, and opened up a new way of thinking. For example, in his famous academic paper "Wei and Jin demeanor and the relationship between articles and medicine and wine", he used this way of thinking to draw different conclusions: the destruction of ethics by Ji and Ruan is only a superficial phenomenon, but in fact it is a manifestation of excessive love.
The sharpness and viciousness of Lu Xun's essays are unacceptable because of his imagination, which also violates the "convention". On the one hand, Lu Xun linked the seemingly farthest people and things from appearance and form, and found the similarity of "God" in the huge contrast of "shape"; On the other hand, we can find and feel the unique connection between history and reality.
In the sketch crisis, "the fireworks girl can't pull the business any more in the alley, so she has to draw her face and come to the road at night." In this way, one end is the noble and his palace, and the other end is the "most unclean place" on the ground. Under the influence of Lu Xun, it achieved the "sacred" "banter" and "elegance" "vulgarization". ?
"Excluding the individuality, concreteness and particularity of concrete and individual people and things, making a general and concise name, upgrading it to this kind of specimen through' this one', while retaining the image and specific characteristics, and becoming the unity of' individual' and' class'" is the basic method adopted by Lu Xun in the debate.
In Lu Xun's 14 essays before his death, many wonderful and typical images were created, such as "Eight two dog", "Happy Boy", "Foreign Rogue" and "Revolutionary Foreman". These images often dissect a person's words and deeds at a certain time and place as a typical phenomenon, "attacking one point, not as good as the rest", thus extracting a social type. These images have eternal significance, and also make these "* * * names" have long-term artistic vitality, just like Ah Q and Xianglinsao in Lu Xun's novels. ?
The language of Lu Xun's essays is also imaginative and creative, which accords with the imaginative thinking. Lu Xun's essays can be said to bring the ideographic function and lyric function of Chinese into full play. In his essays: either spoken and classical Chinese sentences are mixed; Or the cross use of parallelism and repetition; Or the interweaving of long sentences and short sentences, declarative sentences and rhetorical questions, mixed with the simplicity of prose and the beauty and momentum of parallel prose, can be described as "deep affection."
For example, "In Memory of Liu Hezhen Jun": "How brave, dare to face the bleak life, dare to face the dripping blood." Very bright and impressive. On the other hand, the language of Lu Xun's essays is nonstandard. He deliberately destroyed grammatical rules, violated conventional usage, and created a discordant "awkward style" to break the shackles of language on thought and achieve absurd and bizarre aesthetic effects. For example, he sometimes organizes words with opposite or incompatible meanings, which are very profound in logic: "rational oppression", "kneeling resistance", "galloping on the tender seedlings" and so on. ?
3. Prose style
Lu Xun's essays are few, but they are excellent. These articles are included in Morning Flowers and Weeds. Morning Flowers is a review of Lu Xun's childhood and adolescence, and a fragmentary memory of the author's adolescent life, including his childhood impression of Shaoxing, studying in Nanjing, studying in Japan and teaching in Shaoxing after returning to China, especially the description of his hometown life. Compared with his essays, these articles are clearer, purer and kinder.
Flowers in the morning and flowers in the evening focus on the description of the human world, including vivid natural situations (such as From Baicaoyuan to San Tan Yin Yue) and vivid memories of teenagers' actions (such as Social Drama), as well as affectionate descriptions of real people, such as Mr. Fujino, Mr. Wang and Mr. Shou in San Tan Yin Yue. The author did not write them stiffly from the moral point of view, but used emotion to drive the pen of group memory. The most representative figure is the big mother.
In A Chang He and other works, Lu Xun strives to tell objectively, and does not praise or criticize at will, so that readers are deeply moved by the kindness, simplicity, enthusiasm and beauty of their great mother in simple words and stories. In contrast, the dissatisfaction with the boring, absurd and ignorant world in the old life in Flowers in the Morning is not outstanding. The beauty and love of the past are not only the spiritual refuge of Lu Xun when he was depressed, but also the rest place of his tired body and mind.
Weeds is a collection of prose poems with a completely different style from Morning Flowers Gossip, showing another Lu Xun style. In Weeds, Lu Xun's works gushed out the obscurity, heaviness and strangeness of dreams and the gloom and mystery of ghosts. An absurd scene, an absurd plot; Uncertain vague ideas, incomprehensible abnormal feelings; The magnificent colors of Leng Yan, fantastic imagination and rich poetry ... One of the main reasons for these "strange variations" is the special language-it comes from the variation of daily life language, which is gorgeous and difficult.
On the other hand, the reason is the variant style of Wild Grass, which obviously shows the poetic, novel (the vibration of the declining line) and dramatic (the passer-by) prose. The overall artistic feature of Weeds is introverted lyrical tendency, which reveals the truth and depth of the soul and is a conscious experience and breakthrough of "man"' s own predicament. Lu Xun absorbed and successfully used symbolism here, but at the same time he was obviously more independent than Li Jinfa's rigid transplantation.
Therefore, it has also achieved great success in the exploration of artistic expression techniques. Weeds expresses the uncertainty of the theme, which almost contains all aspects of Lu Xun's mood, personality and even the whole inner world. It is also the spiritual history of Lu Xun, a cultural critic in the enlightenment period, in the transition period from a fighter after the enlightenment period.
4. Poetic style
Lu Xun also wrote many excellent poems in his creative career. Although the overall number is not very large, its artistic characteristics have many commendable places, which are worth further study. Guo Moruo once commented: "Mr. Lu Xun has no intention of writing poems. Occasionally, he sings every time." Or the rhinoceros horn candle monster, or courage. "Lu Xun's poems are particularly prominent in classical poetry creation. These poems are not only rich in content and catchy, but also have high artistic aesthetic feeling and ideological content, which is a good combination of revolutionary rich emotion and perfect artistic characteristics. ?
The artistic features of Lu Xun's classical poems mainly include the following points:
First, the personality is distinct and the image is true. In Lu Xun's classical poems, readers can often truly feel the feelings expressed by the author through various natural scenery or some specific characters described by the author. These scenes cover a wide range and have profound implications, such as "Thousand Forests", "Heron Shadow" and "Antelope". The characters are "wife", "loving mother", "husband" and "hero". Sometimes, the author often takes himself as the main body of the poem in the form of self-portrait, directly expresses his thoughts, and lets the world know the theme he wants to criticize and praise with an open mind.
For example, in the poem "Untitled, accustomed to the long night in spring", the author uses "the mother's tears are faintly in the dream, and the flag of Chengtou Wang changes." A simple and clear sentence vividly outlines his family's yearning for being surrounded by white, as well as the scene of warlords fighting and the tragic people. The author does not use too many words to pave the way, but only relies on the two images of "mother's tears" and "king's flag" to express point by point.
Second, the language is simple and profound. The language of Lu Xun's poems is simple and natural, without too much carving and rendering, which makes people feel kind and natural to read. However, when we carefully taste them, we can immediately find their intentions, but the feelings they preach are far from simple. For example, in the poem "Gengzi sends a stove to do things", we can clearly find an emotion hidden in Lu Xun's poems-satire and lashing feudal superstition. The author chose this event to reflect the poverty of the family. The implied content is that the kitchen god does not exist, and worshipping the kitchen god will only make the family poorer. If you want to get rid of your destiny, you must rely on your own and personal struggle for tomorrow's happiness.
Third, rhetoric is rich and varied. Rhetorically, Lu Xun's commonly used rhetoric includes metaphor, exaggeration, allusion, irony, duality and so on. These rhetorical devices with different functions and distinctive features have become sharp tools to publicize ideas and vent emotions in Lu Xun's works, and also let readers deeply understand Lu Xun's profound knowledge and wise mind. In addition, Lu Xun's ancient poetry forms are also very rich, including five-character poems, seven-character quatrains and seven-character poems. For example, there are five words such as "Gengzi sent the stove for business" and "topic", and seven words such as "answering the guest's question" and "starting a small portrait".
Extended data:
Personality influence
1, literary influence
Lu Xun is a cultural giant in the 20th century. He has made great contributions to novels, essays, woodcuts, modern poems, old-style poems, translation of famous books, collation of ancient books, modern academics and so on.
As a great founder of modern literature in China, several novels by Lu Xun created a new form of China's novels. His prose "shows the achievements of the literary revolution"; His essay style is full of modernity, freedom, criticism and militancy, and it is the most commonly used "critical weapon" for later writers. His essays are an encyclopedia of China's society, politics, history, law, religion, morality, philosophy, literature, art and even cultural psychology, people's nature, people's feelings and customs.
Almost all China writers have developed different literary styles on the basis of Lu Xun's creation. As a translator, he translated a large number of foreign literary works and scientific and natural works, and made great contributions to enlightening people's wisdom and introducing advanced scientific and cultural ideas. As an art lover, Lu Xun introduced a large number of western woodcut prints, supported young people to learn woodcut prints in spirit, theory and spirit, greatly promoted the spread and development of modern woodcut prints in China, and made outstanding contributions to the artistic cause of modern China.
2. Academic influence
As an academic researcher, on the one hand, Lu Xun used western literary concepts to study China's classical novels and wrote A Brief History of China's Novels, which not only ended the era of "China's novels have no history", but also created a typical work in the history of literature and "opened countless methods for later study". Guo Moruo and Wang Guowei's History of Song and Yuan Dynasties is called a double gem in the modern academic history of China. On the other hand, he collated dozens of ancient books, such as Ancient Fiction, Ji, Han Portrait Collection, and Miscellaneous Collection of Old Books in Huiji County, which left great wealth for future generations to study classical literature. ?
3. Mental influence
Lu Xun is the soul of china of modern China, and his spirit has a far-reaching influence on his readers, researchers and even generations of modern writers and intellectuals in China. Lu Xun is also one of the world cultural giants in the 20th century. With his unique personal style, he created the literature "China people should participate in the cause of the present world", "both internal and external cultivation, integration with the world trend of the times, but did not stifle China's nationality". Like the outstanding thinkers and writers in the world at the same time, he paid attention to the problems faced by mankind and made his own unique contribution. ?
4. Political influence
Lu Xun pursued democracy all his life, declared war on the feudal old culture as early as the beginning of the new literature movement, and constantly struggled with the old ideas and old culture that oppressed the people. After the "female normal university student tide", there was an argument with the warlords who persecuted students. Lu Xun is not afraid of violence and writes about war, which shows the spirit of an upright scholar. Later, under the rule of the Kuomintang, he boldly exposed its dark rule. In the 1930s, he fought against the wrong left-leaning literary line of the * * * production party, and later established the left-wing writers' alliance led by proletarian literary thought in cooperation with literary and art workers under the leadership of the party. As the leader of the Left League, Lu Xun led the Left League to smash the plot of Kuomintang reactionary literature and art to stifle proletarian literature and art.
References:
Baidu Encyclopedia-Lu Xun (writer and thinker)