Lu Xun's contributions in the field of literature are various. His achievements in poetry creation are still praised by literary historians. China is a country of poetry, and the long-standing tradition of poetry creation is consciously or unconsciously displayed in Lu Xun. If we carefully read dozens of poems left by him, we will be surprised to find that his grasp of the inherent characteristics of traditional poems is superhuman. In his poems, people can find the shadows of Qu Yuan, Du Fu and others. Lu Xun, on the other hand, went far beyond the way of thinking and emotion of ancient poets, and greatly expanded the connotation of poetry with modern thinking logic and value law. Lu Xun has no intention of becoming a descendant, but he is really a different singer. His concern for the fate of the nation, his criticism of the people's inferiority, his love for the people and his spirit of self-dedication make his poems show independent self-personality. And his profound cultural knowledge and broad spiritual vision make him full of thorough and profound artistic taste. All these constitute his unique aesthetic taste in the world of poetry, and his artistic value has been widely recognized by the society.
Lu Xun wrote more than 70 poems in his life, including new poems, folk songs, doggerel and modern poems. Some of these poems were first recorded in my brother Zhou Zuoren's diary, some were kept by friends, and some were written between miscellaneous feelings and novels. Lu Xun rarely keeps his own manuscripts. He wrote poems to express his temporary temperament, but he didn't concentrate on poetry creation. This does not mean that Lu Xun did not attach importance to the art of poetry. On the contrary, he advocated and supported the renewal and development of China's new poems all his life. Although his artistic talent is not mainly manifested in this respect, from his poetry creation, we can clearly see the changes of China's poetry from the late Qing Dynasty to the Revolution of 1911, from the May 4th Movement to the "Left League" period, and the picture of China's social life. From all the existing poems, I can still find Lu Xun's extraordinary poet personality. He liberated the old emotional way and old style of China's modern poetry from the paper pile of national heritage and opened up a new realm. His contribution to the modernization of the spiritual connotation of modern poetry is enormous and far-reaching.
Lu Xun left us many touching poems, and also left many valuable experiences in the construction of poetry theory for future generations. 1908 Lu Xun published a famous paper on Moro Poetry. This can be said to be a declaration of his poetic theory. Here, he not only showed his aesthetic view, but also showed his ideal value. This is an important logical starting point of his later literary aesthetic thought. Lu Xun regards poetry as a way for adults to realize their self-awareness and an indispensable way of educating people. Poetry is the carrier of ideal fire and the product of life. Whether a nation has hope can be seen from its representative poets.
Real poetry is never a solo without individuality. If a poet indulges in the selfish realm of feudal old morality, his life is over. Therefore, he looked down on those royal literati. "From our layman's point of view, poetry is to express their enthusiasm, and it's over; But I also want to have a * * * chord, so no matter how much, I just have it; It is useless for Mr. Yao to frown. " Lu Xun's appreciation of the rebellious mood in China's new poems is full of expectations for people's soundness and rationality. Because he knows that "all the great works in the world can open the door of life", and the generous lament and the voice of seeking reform are beyond the understanding of conservatives. A kind, beautiful and energetic poet can be described as a true warrior in the spiritual world. When some people dismissed Erochenko's poems, Lu Xun defended them, saying that the poet had "an innocent but pure heart". After I closed the book, I was deeply grateful to such a person and book among mankind, because his works were "written with blood and tears". Turning free will and beautiful sentiment into the soul of poetry is an important core of Lu Xun's aesthetic thought. Lu Xun always believed that "literature and art are the beacon of the national spirit and also the beacon to guide the national spirit forward." Poetry is a kind of creation and a realization of spiritual desire. It is one of the duties of a poet to express human potential as much as possible. Here, Lu Xun regards the spirit of German romantic poetics as a mission. German romantic poetics theory is a cultural trend of thought that criticizes human beings for the first time and despises traditional rationality and modern social technology. The alienation of operation to man saves man's self from the impersonal prison. Romantic philosophers and poets have always regarded the unity of poetry and life, the harmony between man and nature and the publicity of pure spirit as important aesthetic principles. Lu Xun's attention to Nietzsche and others, as well as his conscious or unconscious acceptance and recognition of the German philosophical tradition, show that his spiritual temperament is closely related to the romantic tradition before and after Nietzsche. Nietzsche's superman lives alone and his poetic philosophy full of loneliness and adventure consciousness is a great discovery of human potential. For Lu Xun, his praise of human vitality and his transcendence of secular spirit are cordial. Therefore, in Lu Xun's early spiritual personality, there is a strong German romantic philosophical personality and the will to pursue individual life. His admiration for Nietzsche, Schopenhauer and his love for western European poets, especially British descendants, under the influence of German romantic poetics, made him show Nietzsche-like personality in aesthetic tendencies and concepts. This character has always influenced his life. His later literary creations all left the shadow of early individualism.
Lu Xun's later literary practice has always maintained this personality. In his creation, he profoundly demonstrated the internal tension of individual life, and his evaluation of the poet was based on this. With the enrichment of personal life experience and the turbulent changes of China society, on the one hand, he strengthened his personalized poetic philosophy, on the other hand, he deeply integrated the spirit of "Moro" with the spirit of realism in the field of epistemology. His energetic works are not only eloquent, but also full of Nietzsche's poetry. Therefore, his works are the products of thinkers and poets, and he attaches great importance to the ideological and realistic things that the poet appears in his works. For many years, he has been paying attention to guiding the poet's personality among young writers. When evaluating Bai Mang's poems, he was deeply moved by the poet's martyrdom spirit and pure temperament. He wrote, "The birth of this' Baby Tower' is not to compete with ordinary poets now, but has different meanings. This is the shimmer of the east, the whistling arrow in the forest, the bud of winter, the first step of marching, the general program of love for predecessors and the monument of hatred for the Vandals. All the so-called mature and concise works are quiet and need not be compared. Because this poem belongs to another world. " Rarely did Lu Xun praise the poems of his contemporaries so highly. In Lu Xun's view, what matters is not the form of poetry itself, but the spiritual value of people it presents. Baby Tower, a collection of poems, with its pure soul and rebellious mood, constitutes a wonderful flower in China's poetry circle. Only when poets really devote themselves to the process of national liberation and history will they show the significance of their existence. No poet, no matter how artistic his works are, can become a trumpeter of the times if he is not deeply rooted in the soil of nationality and history and does not put his feelings in the torrent of lofty human cause. Lu Xun is convinced of this.
It can be seen that Lu Xun's views on poetry and the poet himself are unique, which implies profound factors in his spiritual world. He not only held high his spiritual personality in aesthetic thought, but also showed a brand-new artistic style consciously or unconsciously in his creative practice. In Lu Xun's poetic temperament and poetic world, we can find many fascinating things.
Lu Xun is an amateur of poetry, but whether intentionally or unintentionally, Lu Xun's poems properly and brilliantly express his self-awareness, his values, his ideological interest and his humorous style, all of which have been vividly reproduced in his poems. The poem "Little Portrait of Self-Title", which was determined to serve the country in his youth, can be said to be the life oath of young Lu Xun. "I sent a message to the cold star, and I recommended Xuanyuan with blood", which was admired by future generations for its high realm and deep intention. However, in "Self-mockery", "Look at a thousand fingers coldly, bow down and be a willing ox" is famous for its clear distinction between love and hate. In these poems, we can't see the tranquility of singing flowers and enjoying the moon, nor can we see the self-singing that escapes from reality. Here, there is a passion and emotion dedicated to the cause of mankind. Facing the broken scenery of "the wind is white and the forest is black, and the fog is full of flowers", Lu Xun's sense of responsibility is very strong. He not only shows Qu Yuan's character of decontamination, but also shows the verve of "Moro" poets such as Byron, Shelley and petofi. In his poems, Lu Xun expanded the perceptual individual's desire for life to attack the existing ideas. This kind of attack is not presented by a superficial interpretation of ideas and thoughts, but by a profound self-experience. Lu Xun always held high the banner of "establishing people" and transforming national character, and was in the trend of social change. He despised the personality of traditional literati and advocated the publicity of people's personality will. Lu Xun constantly realized his value ideal in his works, and he looked at the object world with suspicion and negation. Since he chose the road of "I commend Xuanjuan with blood", no force can change his pace of progress. Just like the "passers-by" described in "Wild Grass Passers-by", it is the value of the explorer to walk along the place where there is no road without hesitation. No matter in the period of "He Ji wandering alone" or in the era of "angry knife", he did not change his own law of value. Awakening people from hibernation and transforming people's lifestyle and spiritual trend have always been his important themes. Many of his poems show this aboveboard feeling. From his chanting and expressing feelings, a lofty and surging realm was born. The poet's impulse and yearning are covered with solemn colors in this realm.
It is obviously not comprehensive to describe Lu Xun's poems only as the characteristics of "King Kong glaring". He is actually a very human person. His spirit of benevolence, his character of abiding by the moral obligations of friends and his selfless enthusiasm are all very touching. All this is also reflected in his poems to varying degrees. Answering a guest's letter echoes the father's love and makes people see the gentle side of Lu Xun's world; The style of grief and indignation in Mourning Ding Jun is filled with Lu Xun's love for progressive intellectuals. In the poems presented to friends, such as Send Zeng Tian to China, Send Two Gifts, Stop Yu Dafu from Moving to Hangzhou, and Send Ou Yejun to China with Lan, the feelings of care and love for friends are beyond words. Such as "Stop Yu Dafu from Moving to Hangzhou":
Qian Wang's vacation is still there, and Wu Xiang can't find it.
Harmony is different, resentment leads to depression, and mountain fragrance spreads all over Gao Cen.
General Yue's grave is deserted, and Meihelin is desolate.
It seems that the whole family is traveling, and the wind and rain are full of songs.
The poem is gentle and euphemistic, and it vividly outlines the advice and advice to friends in the interest of high image density. Lu Xun is equal to people, and he never opposes the master-slave relationship between people. While showing no mercy to the enemy, we take special care of our friends and naive young people. In his poems to friends, we can feel his psychological process full of humanity and sense of justice. His gentle and serious attitude towards Yu Dafu shows Lu Xun's approachable side.
Lu Xun made a lot of friends all his life, and his contacts with Xu Shoushang, Feng Leifeng, Qu Qiubai and others are still a story in the literary world. In particular, his earnest concern for young people is particularly prominent in his poems. In "In Memory of Forgetting", he wrote a farewell song, which blended his selfless fatherly love spirit:
When I spent a long night in spring, my wife put silk on her young temples.
In my dream, I vaguely shed tears for my mother, and the flag of the king on the city head changed.
Endure watching peers become new ghosts, and look for small poems in anger.
There is no place to write, and the moonlight is like water.
The whole poem is dignified, gloomy and solemn, with cold feelings, pride and resentment, and full of grief for the young martyrs. The characteristics of "cold" and "hot" in Lu Xun's personality are typical here. After the bleak situation, we can strongly feel his rolling passion. This sincere feeling can be seen everywhere in his poems. Lu Xun has always attached importance to the role of young people in society. Both early belief in evolution and later acceptance of Marxist aesthetics have high hopes for China's youth cause. As long as we look back at his support for young printmakers, his generous assistance to poor and wandering literary youth, and his shielding action against persecuted students, we will find that Lu Xun is a man dedicated to righteousness and friendship. The poem "How Reiko Kobayakawa Doesn't Husband" vividly shows his love for the next generation. Respecting, loving and caring for people and treating people as adults rather than things are the humanitarian principles that Lu Xun has always adhered to. In several of his mourning poems, he vividly portrayed his compassionate spiritual image. The touching aspect of Lu Xun's poems is precisely reflected in this lyrical chant.
In the world of rebellious literati, they learned a character of resisting despair, and at the same time shaped themselves into a brand-new personality with modern consciousness. His poems did not retire from the world, did not escape from the ethereal works of natural mountains and rivers, and did not immerse themselves in the warmth of singing flowers and enjoying the moon. In addition to loving his own kind, he mainly showed people the image of a warrior who struggled with emptiness and darkness. In Lu Xun's place, there is no retreat, only courage, no other choice.
Therefore, Lu Xun's poems often express an expectation for the new order. Just as he understood the world as a process, he always had hope for people and society. This hope does not come from the worship of transcendental rational laws, but from the firm belief that people create themselves. Man can be his own master in his own choice. As long as they create independently, there is hope. "I hope this is it doesn't matter, it doesn't matter. It's like a road on the ground. In fact, there is no road on the ground. If there are more people walking, it will become a road. " Lu Xun realized the irreversibility of time, the old meeting passed and the new meeting came. On the way to evolution, all eternal teachings do not exist. "Man and Time" wrote:
One person said that the future would be better than the present.
One person said that it is far from what it used to be.
One person said, what?
Time, you all regret my gift.
Once upon a time All right, go home by yourself.
In the future. All right, come with me.
What does this mean,
I won't say anything to you.
In the face of natural laws, people are insignificant; But only those who use time to create a new life will have the value of life. This new poem, whose artistic form is still very rough, may have a lot to criticize, but Lu Xun deeply appreciates the experience of human historical process and expands his psychological time and space. Therefore, he transcended the traditional static concept of time and space and introduced the idea of continuity into his poems. "Seeking new artists, only learning from Zhu Mo as the Spring Mountain" and opening up a new realm in another world will bring new life to artists. Life is progressing, so is art, and "new artist" is actually a symbol of literary innovation and progress. Lu Xun believes that no force can stop this process of change. Even in the darkest time, he still believes that the Illuminati will come: "When listening to pheasants, it seems that the stars are dying." This feeling is full of an expectation of life. In the silent night, the poet excitedly looked at the distance and listened. Under the oblique Beidou, the dawn was heralded. This is the saddest and most hopeful moment. When all was silent, Lu Xun seemed to feel the flowing sound of light. Everything is passing away, passing away, and change is eternal. The process of human existence is the process of constantly saying goodbye to the old self. So, he saw the "spring flowers" in the "cold soil"; In the suffocating land of silence, I heard the rumble of thunder. This spiritual fable has produced a special effect in Lu Xun's poems, and raised Lu Xun's poetic realm to a new stage. Here, we see a wise and prescient Lu Xun, a Lu Xun who struggled to create a new spiritual order in despair. Lu Xun, in his heart, is full of a sudden enthusiasm. From this exciting melody, can we feel the happiness of a fighter?
(3)
Just as we see Lu Xun's confused, angry and tragic artistic pictures in Novels and Miscellaneous Feelings, people also feel a desolate, vigorous and vigorous aesthetic spirit in his poetic world. The main reason why Lu Xun's poems are charming is his extraordinary talent and personality strength. When commenting on Mencius and Sima Qian in the Song Dynasty, Su Zhe once said: "The shape of literati's qi can't be learned, but it can be nurtured. Mencius said,' I am good at cultivating my lofty spirit'. Today, his articles are generous and broad, filling the gap between heaven and earth. Call it small and big. Tai Shigong traveled all over the world, traveled all over the world, and made friends with Yan and Hao Jun, so his prose was sparse and quite strange. How can this second son taste writing as such an essay? Its qi is all about its appearance, but it depends on its words, but it depends on its text, without knowing it. " Temperament, self-cultivation and moral integrity have great influence on the writer's achievements. Su Zhe's "strangeness" is precisely in this respect. Luxun's poems, full of vitality and change, are outstanding, unique and become wonders. Full of the "strangeness" described by Su Zhe. His aesthetic personality is vividly displayed in this charm.
Generally speaking, Lu Xun's poems are full of vigor and vitality, sincere feelings, high level and quite heroic. There are monologues of aspiring souls and sighs of mourning for the people. There are both cynical jokes and sincere and indirect confidences. However, Lu Xun was not as successful as an ancient poet. On the one hand, he is dissatisfied with the so-called "beautiful politics" ideal of traditional poets, and on the other hand, he opposes the wild interest of blind seclusion in the mountains. In Lu Xun's place, self-transcendence, self-choice and self-struggle have always been accompanied. He doesn't yearn for fairyland, but he is obsessed with real life. He is not attached to the future, but concerned about it. Reading his poems, people will be shocked by a strong sense of mission and critical consciousness. For example, the declarative warning in Portrait of Self-Title, the sad feelings in Habit Long Night, and the sense of superiority and inferiority in Untitled (Wan Jia Mo Mian) are all touching. The open mind and arrogance in the poem "Self-mockery" have now become the eternal swan song:
What do you want from the canopy? Dare to turn over and meet.
A broken hat covers the downtown, and a leaky boat carries wine.
Fierce-browed, I coolly defy a thousand pointing fingers, Head-bowed, like a willing ox I serve the children.
Hiding in the small building into a unified, regardless of winter Xia Chunqiu.
This is Lu Xun's truest description of himself. Poetry is all about context, and context is born of meaning. The objective sketch is intertwined with the freehand brushwork of images, which shows the famous sentences that the author is interested in in in the transformation of emotion and environment. Here, the voice, face and smile are full of emotion, which kills the gloom and shoots awe. Talent, courage, knowledge and strength are integrated. Without great vision and free and easy temperament, you can't write it. Ye Xie said: "The article is eternal, harsh and fearless. How can it last forever? " Zhu also said that a real poet, "if virtue is enough to forget, he will leave a place of high intelligence and purity, and he can learn without learning." Lu Xun's courage and personality cultivation are universally recognized.
In the darkest days of China's modern society, he always maintained the valuable feelings of an explorer. It is his good integrity that makes his poems full of intense and solemn style.
Ambition and open realm are important features of Lu Xun's poems. Lu Xun made up his mind to serve the country and help the world when he was very young. When studying in Japan, he often "went to clubs, bookstores, parties and lectures". Chen Tianhua's Looking Back, Zou Rong's Revolutionary Army and Zhang Taiyan's Refuting Kang Youwei's Revolutionary Book all inspired him deeply. In his youth, those impassioned feelings of "being reprimanded, walking alone with a book in his arms, no tears to wave, and the strong wind extinguishing the candle" also influenced his poems subtly. Therefore, between the lines, we can often see his fascination with the four fields and his spirit of freedom in all directions. A self-titled portrait can be described as the banner of the poet's personality, with its vision, boldness of vision and style.
There is no way to escape from the gv 10, and the storm is as dark as a rock.
I wish Hanxing's stems were disorderly, and I commend Xuanyuan with blood.
This poem is extraordinary and varied. The realm is vast, taking people with anger. First, I realized the bleak sadness of life, and then I talked about myself. Love from the outside to the inside means from the flat to the deep. The first two sentences are full of resentment and sadness, and the last two sentences are abrupt, such as the sudden leap of the sinking of the strait, and the cold scene suddenly disappears, replaced by a kind of life realm of letting go and swallowing the sun and the moon. Liu Yuxi said: "The environment is born outside the image." The realm of self-titled portrait is the sublimation of the poet's understanding in the dialogue with the world and the frank expression of self-personality. The poet does not stick to the static examination of the phenomenon world, but grasps the essence of life and his spiritual direction in the comparison and communication between himself and the object. How broad-minded and bold this kind of mind and momentum is!
In Lu Xun's poems, we can also appreciate the process of his perceptual thinking. Lu Xun sometimes uses images in his poems to vaguely contrast his mood. The poet externalizes his feelings in the objective world with intuition and emotion. For example, Send O.E. Jun to Lan's home, untitled (Yoko has many hooks and thorns), Two Poems, two gifts for people, untitled (One Kiss Clear Harvest), Autumn Night Love, etc. It's not like self-deprecating and self-proclaimed figurines. Through the external form of objective entity, emotion is cast in it. On the one hand, it shows the author's exquisite artistic accomplishment, on the other hand, it embodies a feature of his thinking in images. His sensitivity and depth make him good at finding a unique way to accurately show the mystery of the spiritual world in hallucinations. For example, the poem "Xiangling Pavilion" is a description of the atmosphere on both sides of Xiangling and Xiangshui, decorated with the tragic artistic conception of scenery and species:
I used to smell the water of Xiangjiang River as blue as dye, but now I smell the rouge mark of Xiangjiang River.
Xiangling makeup shines on Hunan water, and her eyes are as bright as the moon.
In the lonely night of Gaoqiu, there is no spring in Fang Quan.
When the drum is finished, the Yao people don't smell it, and the peace is like the autumn gate.
There are both bleak scenery and legendary dreamland here; There are contrasts and contrasts, and the whole poem is cold and refreshing. Intuitive images are full of understanding, and ironic sentences are full of thinking. The poet seems to be reducing his thoughts to feelings, and behind the poem is the author's incisive view of reality. This expression often appears in his works, and this way of expressing ideas through perception makes the whole poem full of a metaphorical feature. Lu Xun expressed his inner feelings through natural scenery, which was very calm and skillful, without any traces of carving. The poet's instantaneous feeling is a kind of promotion and transformation on the basis of long-term observation, which is inseparable from the potential factors of the poet's thought. It can be seen that Lu Xun deeply understood the essence of China's classical poetry. Creating a rich image world in the limit has brought great tension to his poems. His thoughts expanded the boundary between time and space in the interweaving of this feeling and impression.
If we compare Lu Xun's poems with the concepts of "enthusiasm" and "indifference", it is obvious that his works are somewhere in between. On the one hand, he is the publicity of unruly personality, on the other hand, he is a cold self-experience of the dark world. People can not only perceive the psychological state of resisting despair, but also find the tragic situation that he can't excrete in his heart. In Lu Xun's poems, words such as "cold night", "resentment", "melancholy", "Leng Yun" and "loneliness" often appear. Especially the description of darkness is not uncommon. It is symbolic to repeat these boring fields in his place. Lu Xun once admitted that his heart was bitter, but he was determined to make trouble in this painful world and show human value by self-struggle. He is so used to looking for objective entities surrounded by cold air. Looking for the meaning of human existence in an environment without light and love. China's society and China's culture are so heavy that people can hardly get a break. "Such as rock night pressure floor, cut willow spring breeze guide nine autumn. Yaose's dust is clear, and she is pitiful and has no female honor. " This sad sentence gives people a strong sense of oppression. In fact, it is the externalization of Lu Xun's self-mood. "Smoke and water vulgar things, abandoned fisherman. Drunk in the middle of the night, nowhere to find wealth "("Untitled "). This lonely figure in Desolation may be the embodiment of the author himself. In similar poems, we can appreciate the author's profound understanding of loneliness and death, as well as his grasp of the tragic fate of life. However, Lu Xun is not exaggerating a feeling of terror, but using sober eyes to show his attitude towards desperate reality. It is Lu Xun's realistic attitude towards tragedy to transcend realistic suffering and seek the essence of life in self-experience. His views on society and individuals are full of sadness and shine with the deepest humanistic luster. From his complaints and monologues, we can see how melancholy and painful his heart is.
But Lu Xun is not a sentimental poet. He is not so faint and bitter, and he never puts himself in the narrow world of personal feelings. In the depths of his thoughts and poems, there has been a surge of sadness to break through confusion and silence. According to the angry voice mourning Yang Quan, it shows the temperament of the author Geng Jie:
Is there any pride like the old flowers blooming and falling?
When do you cry for Jiang Nanyu and Simin?
And "a play about encephalitis", the words are hard and the tone is strong, which is beyond the reach of ordinary people:
You dare to grab a moth's eyebrows, but it still goes against a woman's heart.
Swearing is different now. There is nothing like a minister's brain.
In this kind of poems, he opposes the technique of implication, but releases the wild spirit in anger, which is very bold and open-minded, but this kind of open-mindedness is not as broad as Li Bai's and changeable as Su Shi's. There is no utopian masturbation in Lu Xun's poems, and there is no ethereal utopian color. He put his passion, belief and everything on showing his potential. Here, he not only refused to accept the surreal religious transcendental concept, but also rejected the hermit dream of the traditional gentleman in China. In this kind of poems, Lu Xun held high his personality and realized the value of life. Its high physique, pure temperament and great boldness of vision will be dumped by people in the future. Reading Lu Xun's poems is like feeling a lonely and arrogant person, standing in the desert, watching flying sand and stones, laughing when you are happy, shouting when you are sad, scolding when you are angry, speaking bluntly and not sticking to one pattern. Reading these cold and thrilling words, we can't help admiring his charming spiritual personality.
Humor without kitsch is another feature of Lu Xun's poems. Many of his doggerels and ballads mean "acting". He can't see the pedantic nostalgia of China's ancient poets and the bookishness of praising ancient sages. Lu Xun is alert and humorous. He is good at grasping the object vividly and stripping the false state of a gentleman alive with spicy irony. But they have no mercy on the diseases of ordinary people. In My Lovelorn, Lu Xun satirized the lovelorn poems popular in the society at that time, and vividly set off his own thoughts in a playful tone. The mocking tone in poems such as Song of Good Things, Song of Citizens and Nanjing Folk Songs makes people laugh. The author drew a group of ugly pictures by stick figure. The comic description of intellectuals' weaknesses in Professor of Miscellaneous Use reminds people of Lu Xun's usual methods in Miscellaneous Feeling. In Miscellaneous Feelings, he described various types of "social images". Among them, the lashing of "running dogs", "slaves" and "hooligans" is particularly profound. This kind of humorous writing with mixed feelings has also been transferred to poetry by the author, forming a humorous style. Although these poems lack artistic conception and the elegance of traditional poems, people can still appreciate the unique aesthetic spirit in such a big laugh and abuse. Lu Xun sometimes pays little attention to the form of poetry, speaks casually and has no scruples. He sneered at the stereotyped poetic style and the self-display of too many allusions. Therefore, he often blasphemes the old way of writing poems, or satirizes the present with ancient words, or changes the original words of old poems for new ideas. For example, the adaptation of The Yellow Crane Tower by Cui Hao, a poet in the Tang Dynasty, and the attempts to colloquialize ancient poems in Students and Jade Buddha are shocking. The aristocratic narcissism of China's traditional poets has been sublated in Lu Xun's poems. Even in his sentimental poems when he was young, we can still see his unconventional spirit. People can feel that the contempt for the secular in Lu Xun's poems is very strong. He not only mercilessly tore the coat of bureaucratic politicians, but also exposed the inferiority of secular people to the sun. The so-called "Toni's articles, the character of Wei and Jin Dynasties" is the most appropriate description of Lu Xun's literary personality.
Looking at Lu Xun's poems, we will feel that in the world of poetry, Lu Xun left many spiritual topics for future generations. Its significance is not only reflected in the ontological structure of art, but more importantly, in a "spiritual paradigm" that connects the past and the future. This is a huge spiritual wealth, which, like Mr. Wang's novels and essays, is of great significance in the history of China literature. For today's younger generation, its value is no less than that of Tang poetry and Song poetry. If you don't see this, you may not be able to appreciate the true meaning of Mr. Wang's works. It is in this sense that we can proudly say that Lu Xun's poems are immortal.