Lu Xun once said that all the works in "New Stories" "are the romances of myths, legends and historical facts." ⑴ Among them, those with mythological themes include "Matching the Sky" and "Flying to the Moon", those with legendary themes include "Managing Water" and "Forging Swords", and those with historical themes include "Picking Wei", "Leaving the Seclusion", "Fei" "Attack" and "Arise from Death". Here, myths, legends and historical facts themselves are established as the objects of "new editing". Even if there are differences in their circulation, the author only has a problem of choosing them; and "romance" naturally includes artistic fiction, that is, artistic fiction. Lu Xun's so-called "point dye" ingredient. Therefore, there is a prerequisite that cannot be ignored when it comes to restricting the creative methods used by writers: myths and legends, as literary works created by primitive ancestors and ancient people, themselves have a strong romantic flavor and singularity, their own content inherently requires writers to use romantic creative methods to express them when adapting; and historical facts, as evidence-based history, are innately inclined to reality because of their objective authenticity. ism, but because writers can have different principles and attitudes when adapting them, it can lead to both realism and romanticism to a certain extent. Therefore, when studying the creative method of "New Story", we must first relatively distinguish the two different categories of myth, legend and historical fact.
Myths are stories that reflect the original understanding of primitive ancestors about the origin of the world, natural phenomena and social life phenomena. In terms of way of thinking, myths are full of the bold and strange imaginations and fantasies of primitive ancestors, which are two different things from true reflections of reality. Marx once pointed out: "All myths are created in and through imagination to conquer, dominate, and visualize natural forces." It is "nature and society that have been processed through people's imagination in an unconscious artistic way." form itself”. ⑶It can be seen that myths are inseparable from imagination, and the unique and rich imagination is a prominent feature of romantic literature. It should be said that myth is romantic in terms of its content and way of thinking. Of course, there is a temporal separation between myth and later romantic literature. The latter gradually emerged with the disintegration of primitive society and the differentiation of literature from myth. However, their spirits are connected: they do not understand and describe the world according to its objective appearance, but understand and describe it according to their own fantasies or ideals. The content and the way of thinking reflected in the ancient myths of every country and nation in the world are all romantic, and there is no exception. In essence, Marx's discussion of ancient Greek mythology contains the confirmation of the inherent relationship between mythology and romanticism. Because the outstanding feature of the myth of "conquering, dominating, and visualizing natural forces in and through imagination" is precisely the bold, strange and rich imagination; this kind of imagination is unrealistic and surreal, it is not It is an objective reflection of the real world, but a reflection with fantasy or ideality; this is obviously an unconscious romantic artistic way of thinking. The permanent artistic charm of all myths fundamentally comes from the unconscious romantic "artistic" way of human childhood.
This is also the case when Lu Xun wrote "New Storytelling". As mentioned above, mythological and legendary themes account for the majority of "New Stories". The reason why he wrote these new "stories" intermittently over the past 13 years is not accidental. From the perspective of psychological accumulation, Lu Xun was exposed to rich ancient Chinese myths and legends in his childhood; these stories have been preserved in the warehouse of his memory for many years, secretly generating and nourishing his romantic spirit. This romantic spirit, in childhood, mainly indulged in poetic fantasy and pursued strange emotions. He made up his own fairy tales when he was a child, which is a reflection of this sentiment. By the time he wrote "The Power of Moro Poetry" in 1907, he had already read a lot of Chinese and foreign literary works, but what he yearned for were a group of Western "Moro poets", such as Byron and Shelley. Among the various literary schools, he singled out Romanticism for his admiration and admiration. This reason, in addition to the influence of his age characteristics and the booming revolutionary situation in Tokyo, is that a large number of myths and legends in his youth sowed the indelible seeds of romanticism in his heart. By the time of "The Scream" and "Wandering", realism was the dominant and mainstream trend, while romanticism was the undercurrent and tributary. Lu Xun's adoption of realism was very conscious and was linked to his great goal of saving the nation and transforming society. However, its dominant position must mean that the romantic elements in the subject's psychological structure must be consciously or unconsciously affected. Depressed. From the inner needs of psychological structure, Lu Xun also had the invisible requirement to channel his own romanticism. Especially when his emotional activities in his daily psychology are active (which is often the case when he is mentally depressed), or when he is unable or unwilling to write works with realistic themes for various reasons, the romantic feelings that have been dormant and suppressed for a long time will emerge in his heart. There will be surges, demands for performance. In terms of creative method, "Weeds" is mainly symbolism (there are also elements of realism), but it contains a very strong romantic passion. Because all schools of modernism are romantic in spirit.
Therefore, when the emotion factor in Lu Xun's psychological structure occupies the most prominent position, his creations must tend to be romantic to a considerable extent, permeated with realism, and incorporate some elements of modernism. "Weeds" is an example, and "New Stories" is also an example. Naturally, the latter situation is different.
For a writer as knowledgeable as Lu Xun, when the precise image of reality temporarily retreats or disappears from his mind, the image of myth, legend or history will often replace it. In other words, his psychology includes concepts, thoughts and image activities, and there will be no blank, rest or pause. Using imaginary logic to fully and unfettered imagination, the writer's strong and abundant emotions can be freely expressed. This is true for "The Scream" and "Wandering", which are dedicated to calm characterization, accurate realistic depiction, and self-expression of one's own emotions. Strictly controlling this kind of mental activity is not only a necessary supplement, but also a useful rest. For Lu Xun, this kind of supplement was mainly completed diachronically, such as "New Storytelling"; it was also completed in the immediate period, such as "Weeds" and "Wandering". Especially when the subject faces an adaptation object such as myth, which has permanent and extremely vivid artistic charm, the creative subject will naturally arouse a kind of aesthetic pleasure first. This mentality will be projected into the adapted works. In this regard, "Mending the Sky" stands out. It is filled with praise, excitement and joy - of course it also reflects the hardships of Nuwa's creation. "To the Moon" and "The Forging of Swords" have a heavy sense of repression, but in terms of embodying the most important characteristics of romanticism - peculiarly rich imagination and strong subjective emotions - they are not It's the same as "Mending the Sky".
The scenes in "Mending the Sky" are magnificent and magnificent, and the structure is also grand. ——This is consistent with the vast psychological space associated with the subject's strange imagination. Although Nuwa's creation of clay and mending the sky with stones in this novel are documented in ancient books, in the specific description, the writer effectively exaggerated the romantic atmosphere with thick ink and color, creating a very strange and moving artistic picture. . When "she" woke up and felt bored, she "suddenly stood up, raised her very plump and energetic arms, and tended to yawn, and the sky suddenly lost its color and turned into a mysterious flesh red, temporarily returning to I can't tell where Yi is." - The figure of the protagonist and the natural background used to set it off are all given a strong, magical and shocking romantic color by the writer's fantasy style. A description of her creation of human beings is obviously not something that can be explained by the so-called "fusion of scenes":
Yi walked to the seaside between the flesh-red sky and earth, and the curves of her whole body melted into a pale rose-like shape. In the sea of ??light, it became pure white until the center of the body. The waves were surprised, they rose and fell in an orderly manner, but the waves splashed on Yi. This pure white shadow wavered in the sea water, as if everything was scattered in all directions. But Yi himself didn't see it. He just couldn't help but knelt down, reached out to pick up the watery mud, and kneaded it a few times. There was a small thing similar to his own in his hands.
"Ah, ah!" Although Yi thought it was made by himself, he also suspected that this thing was like a sweet potato in the soil, and he couldn't help being surprised.
However, this surprise made Yi like it, and he continued his career with unprecedented courage and joy, breathing loudly and sweating...｜In this picture, the action of the protagonist creating a human being, and the aftermath of creation. The basic point of the mood that is intertwined with the sea, waves, sprays, etc. as the natural background does not lie in the magical unreality in an abstract sense, but in the huge creativity of the protagonist's earth-shattering and extraordinary cause of creating human beings! On the surface The upper level is that extraordinary feelings blend into extraordinary scenes, while the deeper level is that extraordinary feelings are tied to extraordinary things. The "extraordinary" of "love", "scenery" and "things" here are the unique and vivid manifestations of romantic imagination in many aspects. In the third section, the description of the Forbidden Army setting up camp on the belly of Nuwa's dead body also materializes, transforms and develops the simple outline of the ancient myth. In short, the ancient mythology on which this novel is based has a strange romanticism as its subject matter; in addition, the author uses fantastic and magical artistic imagination to integrate it, which makes the novel more substantial and rich.
The story outlines of "Flying to the Moon" and "Forging a Sword" can also be found in ancient books, but these two novels still use magnificent and magical imagination to meticulously and vividly concretize ancient myths and legends into fantastic artistic pictures. . From the design of the characters and plots to the description of details and rendering of the atmosphere, everything is full of romanticism. The descriptions of the shooting match between Yi and Peng Meng in "Flying to the Moon", as well as the descriptions of Yi shooting three arrows at the moon, are either strange or vigorous, and are truly full of magical charm. In "The Forging of Swords", there is a scene about Meijianchi using his head and sword to ask the black man to take revenge, and the black man sneaked into the palace in the name of playing tricks, used a trick sword to chop off the king's head and fell into the cauldron, and he also chopped off his own head. A series of descriptions such as a fierce battle with one's head in a cauldron are inconsistent with the logic of reality, and only in this way can it gain a shocking and surprising appeal, which strengthens the romantic color and tragic meaning of the story.
Compared with "Matching the Sky", "Flying to the Moon", and "Forging the Sword", the five historical novels written by Lu Xun in his later period, including "Liquidating the Water", are generally slightly less romantic. . This is mainly reflected in the fact that the fantasy of the story itself is not as good as the previous three. However, in other ways, mainly in interspersing details of modern life, it enhances the romantic atmosphere.
There are shadows of real bourgeois scholars and other characters in "Li Shui", "Fei Gong", "Leaving the Seclusion" and "Plucking Wei", as well as certain fragments of modern life. For example, "Li Shui" has a mixed description of officials and scholars from ancient to modern times. "Cultural Mountain" reminds readers of the so-called "Cultural City" in reality, and foreign words such as "O.K" and "Haodu Youtu" The appearance of "No. 1" implicitly points to the foreign slaves in the semi-feudal and semi-colonial old China in the humor; "Fei Gong" writes that Mozi met the "donation-raising and national salvation team" in the Song Dynasty. This is actually a reference to the reactionary Kuomintang government in the 1930s in the face of Japanese aggression. It is an allusion to the deceptive and plundering behavior of forcibly collecting donations in the name of "saving the country." Examples of this kind can be found in every chapter of "New Stories" except "Forging Swords". As for "The Death", since its subject matter is taken from the fables in "Zhuangzi", it is inherently bizarre. After being adapted, its romanticism becomes more intense and interesting. In this novel, there are also "slick" things like "suicide is an act of the weak". Relatively speaking, there are more "slick" aspects in the later articles. Lu Xun called the writing method of interweaving details of modern life in his historical novels "slick". He claimed that he wrote about a "little husband in ancient clothes" in "Mending the Sky", "which was the beginning of his serious fall into slickness. Slickness is the enemy of creation, and I am very dissatisfied with myself." ⑷ But later each article "still It is inevitably slick, and after 13 years, there is still no improvement." This shows that in the creation of historical novels, Lu Xun was not only dissatisfied with his "slick" writing style, but also continued to do so intentionally or unintentionally. side. There has been a lot of debate on this issue, but no conclusion has been reached. On this issue, we think Mr. Wang Yao’s analysis of the “alienation effect” and satirical effect of traditional Chinese harlequin art⑸ is very insightful. However, we would like to add two points here. First, the clown's language and performance, no matter what the creative method of the work in which it is located, always belongs to the romantic elements. Because the clown's language, actions and behavior are more bizarre than other characters, and the writer's design and characterization of him are correspondingly the result of the use of strange imagination. It can be seen that although the art of harlequin itself can be classified as comedy and farce from an aesthetic perspective, from a creative method perspective, it belongs to romanticism. It can be seen that Lu Xun consciously or unconsciously insisted on the "slick" writing method in "New Stories". This was when he encountered romantic themes such as myths and legends in his creation, and was inspired to use harlequins. Romantic talent in art. This is both conscious and unconscious. The conscious side is manifested in self-selection and self-evaluation; the unconscious side is manifested in the mental state of thinking once entering the creation of historical novels, and the desire for clown art creation is finalized as a driving force of psychological activities (it is reflected in the writer's long-term unremitting essay creation). (has been prominently developed and strengthened), it will inevitably be ejected into the work invisibly and manifested as a special irrepressible creative impulse. This kind of ejection and impulse is generated by the writer's will, emotion, imagination and a certain complex, so it is difficult to suppress it. In fact, the writing of "New Story", which lasted for 13 years, has always used the "slick" writing method, which shows that this writing method has an inherent basis in Lu Xun's creative psychology and has become the whole of his creative psychology. An aspect of the structure that cannot be ignored. From a large perspective, from the essence of the problem, this is related to the satirical art in Lu Xun's essays, including the inner monologues of some criticized characters (shown as fictitious), and cartoonized character sketches (mainly expressed in the characters' language) etc. are connected. At this point, Lu Xun's essays and historical novels have some similar creative psychological basis: the subject has an inner tension of emotion and will, which prompts the writer to use caricature techniques to show that the object being criticized is ridiculous. appearance, in order to achieve the purpose of strong satire and criticism of reality. "New Stories", which takes myths, legends and history as its themes, has been strengthened and highlighted in this aspect. This can be seen as the secondary and latent state of the subject's creative psychology once it leaves the realistic themes. Romantic talent was vigorously stimulated. 2. From the perspective of creative psychology, the method of interweaving modern life details in "Stories" is essentially an association between ancient people and events and people and events today. This kind of association spans a very long time, often as long as several thousand years, so it seems difficult for readers to detect it, and it seems that few people have ever looked into the writing method of "New Stories" from this aspect. Among them, the associations about real life caused by mythical characters and stories are obviously illusory, which makes this kind of associative psychological activities difficult to identify. The reason why "New Stories" repeatedly used "slick" writing methods but Lu Xun never changed his tune is because the above-mentioned association between ancient and modern times has been consolidated and determined as the driving force of the subject's advanced neural activity. Psychologists believe that "the stereotyped response system formed by the stereotyped system of the cerebral cortex to stimuli is the main manifestation of the cerebral cortex functional system." "The formation of dynamic stereotypes makes cerebral cortex activities easier and more automatic, and actions and behaviors are faster. Precisely...people’s living habits, skills, techniques, etc., are also manifestations of dynamic stereotypes.”⑹In fact, in the process of creative psychological activities, there is also the problem of dynamic stereotypes. Characters' actions, plot details, life scenes, etc. that appear during the writer's conception (imagination) process, as a kind of spiritual stimulus, will also cause the subject to have a fixed reaction stereotype.
Lu Xun was knowledgeable about the past and present, and often discovered the laws of social development and some surprising similarities from the connection between reality and history. This created a very broad psychological space for him, making him very good at connecting ancient people and events with modern people and events. If this kind of connection in his essays is mainly a similar association; then the "slickness" as a special form of this kind of connection in "New Stories", that is, interspersed with the details of modern life, is generally a contrasting association. and transplant association. The young man in ancient clothes in "Mending the Sky", the bandit who cuts the path in "Flying to the Moon", Feng Meng, the official who speaks modern words in "Li Shui" and the scholar on the "Cultural Mountain" are Nuwa, Yi and Yi, respectively. He appeared as the opposite of heroes such as Dayu. The words and actions of these comedic villains are completely opposite to those of heroes and are incompatible with each other. With this kind of foil, the image of the hero is made more substantial and vivid; at the same time, the details of modern life interspersed have a prominent realistic combat effect. Here, myths and legends, the extraordinary actions of ancient heroes, their lofty creative spirit, and perseverance of personality made Lu Xun quickly and naturally think of these ridiculous characters who were completely opposite to them in terms of morality, personality, etc. and its situation. Lu Xun, who had dialectical thinking, a profound sense of history, and a sober realistic fighting spirit, would not blindly praise ancient heroes in his historical novels, nor would he use a large number of "casual stabs" in his essay creation. ” method is discarded. Just as in his essays, he mainly used criticism and exposure to ignite the flames of his hatred of the old society, which was also permeated with his love for the people, melting hatred and love into one furnace, so in "New Story", he decided to He will not express his love for ancient heroes simply and in isolation, but will inevitably combine his love and hate and express them through some more complex and completely original artistic techniques. Of course, the association between ancient and modern times in "New Stories" is not random, but there are clues to be found and intermediaries between them. For example, in "Mending the Sky", the appearance of the detail about the comical performance of the little husband in ancient clothes between Nuwa's legs is obviously related to the author's adoption of Freud's theory to "explain creation--people and literature--". In the middle of writing, I saw someone's erroneous criticism of Wang Jingzhi's love poem "The Wind of Hui" based on the standpoint of feudal Taoism. There is clearly a possibility of association between the two on the issue of "sex". This shows that although the time span is quite large, the specific content is handed over in the same specific category. As for "Li Shui", it can be seen from the text of the novel that in reality, the assumption that Yu is "a worm" made the writer have to describe the image of Yu that has been brewing in his heart for many years with a passionate attitude of praise. Think of it; and the fragmentary image of scholars publishing various fallacies on "Cultural Mountain" is clearly a projection of a group of bourgeois scholars in the early 1930s who proposed to the Kuomintang government to designate Peking as a "Cultural City" in the face of Japanese aggression. . Scholars in reality and in their works are exactly the same in terms of ignoring the suffering of the people and making empty noises. How similar! As for "Plucking Wei", "Coming Out of Seclusion" and "Getting to Death", although they are also interspersed with It introduces the details of modern life, but there are no heroes or positive characters being praised in the novel itself, so this kind of interspersion does not belong to contrastive associations. So, how should this be explained in terms of imaginative form? We think that the associations here are more creative. Most of them are picked up casually and involved in writing. They can be seen as Lu Xun's essays going from here to there in the discussion. The brushwork of "a casual stab" is dynamic, graphic and illusory. In the era of "Cai Wei" and "Chu Guan", there were no Xiao Bingjun and Xiao Qiongqi who spoke modern vocabulary, and there were no Guan officials who looked up the so-called "Taxation Essence" in the library. However, Lu Xun modernized the ancients with imagination , can be said to be a transplanted association. They appear suddenly after the work enters a specific situation, rather than drawing analogies between similar things or contrasting opposite things. This kind of association completely ignores the appearance, but puts great emphasis on the spiritual connection, resulting in the intricate interweaving of ancient and modern times. Therefore, its creative component is more prominent. Of course, there may be some medium involved in such associations. For example, in "Arise from Death", the "inspector" said to the resurrected "man", "Suicide is the behavior of the weak!" The interspersed and associated medium is: The man asked the inspector for clothes but could not get them, so he said "Look, how can I live like this!" From this sentence, through the implicit concept of "death", it transitions to "suicide", one of the ways included in "death", and then there is "Suicide is for the weak" What an act!" These words were unreasonably criticized by bourgeois literati in the 1930s for those who committed suicide because they could not bear the oppression of reactionary rule and feudal ethics. It can be seen that this kind of interleaving is not only the result of Lu Xun's original use of transplanted associations in the creation of historical novels, but also the result of the subject's very clever thinking, which is good at quickly and skillfully capturing the connection between ancient people and events and modern people and events. A manifestation of some kind of connection.
In short, regardless of the specific association forms interspersed with the details of modern life in "New Stories", they are all without exception the subject's long-term thinking and writing that establishes a close connection between history and reality. The performance of dynamic stereotypes that are connected to each other.
We believe that this is the psychological mystery of the "slickness" problem in Lu Xun's "New Stories"!
The mixture of ancient and modern times is precisely the macroscopic nature of Lu Xun's thinking and his sober realistic fighting spirit The embodiment of Lu Xun's creative psychology is also an important aspect of Lu Xun's creative psychological structure, or it can be called the driving force behind Lu Xun's creative psychology.
It is worth noting that the "slick" writing style of Gujin Zaru is associated with the subject's artistic imagination and has a certain degree of illusion, so the above article combines it with the subject's romantic talent. Get in touch. And since this kind of writing has a realistic basis (including the source of the material and the inner spirit), and the writer focuses on objectively reflecting reality in a tortuous and indirect form, this kind of writing also has the spirit of realism. In addition, some chapters such as "Fei Gong" adopt more objective and accurate descriptions, so we cannot say that "New Stories" is completely romantic, but can only say that it has a romantic thread running through it as a whole. . Except for "Fei Gong", "Plucking Wei", and "Coming Out of the Passage", which have more prominent elements of present-day disasterism and focus on objective descriptions of historical stories and characters to a certain extent, the other chapters also contain certain elements to a certain extent. Realism elements, or have some similarities with realism. At least, the writing style of "Slick" itself has the duality of romanticism and realism as mentioned above. What should be pointed out in particular is that "New Stories" is mainly based on romanticism and involves realism to a certain extent, but also has the penetration of certain modernist creative methods. In other words, there are tortuous projections of certain modernist creative methods. As the author said, "Matching the Sky" uses Freud's psychoanalysis; "Flying to the Moon" contains elements of symbolism, such as using Feng Meng's betrayal of his mentor to hint at a certain person in reality, while Yi's hero is lonely. The emotions are somewhat a reflection of the writer's own emotions; the act of revenge and the sword used for revenge in "Forging a Sword" also contain obvious symbolic meanings, hinting and metaphorizing the reality of China at that time; and although "Risk of Death" The content of the fable in "Zhuangzi: Joy" is taken to a certain extent, but it is more of a development and transformation, and the plot is quite absurd. Therefore, this adapted novel may as well be a one-act novel. Watch the absurd drama.
From this point of view, although the entire "New Story" is based on romanticism, it also contains elements of realism and some modernism. In other words, "New Stories" has the same impurity as "The Scream" and "Wandering" in its creative method (the former is even more impure). This is due to both personal psychological structure and the times. A scholar once pointed out: "In Europe, the transition from romanticism to realism to modernism is a century-long historical process. But in China, they are displayed in front of the founders of Chinese new literature all the time. The evolutionary cognitive model they accepted at the time made them subjectively try to make up for their mistakes first and then develop in an orderly manner. However, the atmosphere of the times made it inevitable for them to be entangled with the emerging modernist trends from the beginning. Moreover, various trends of thought were pouring in at the same time. This situation will inevitably blur the clear boundaries between them. This situation puts the founders of Chinese new literature in the crossfire of different literary trends. Although the personalities of different writers and their respective preconceived impressions will lead to them. Different acceptance tendencies gradually formed schools in Chinese new literature, but 'impurity' will always be the characteristic of these schools and writers." 7 This passage can be regarded as the creative method of "New Story". The basis of the era of "impure". However, the writer's own circumstances, such as personality, psychological structure and the influence of Western literary trends, are the subjective conditions for the above situation. The three early novels such as "Mending the Sky" were written, as mentioned above, after the ebb of the May Fourth Movement and the end of "The Scream" (or "Wandering"). The reversal of the social situation and the depression caused by various serious setbacks in his personal life made him turn his attention to ancient history and his personal childhood and youth. In Lu Xun's "New Story: Preface", he mentioned that he lived alone in a stone house in Xiamen in the autumn of 1926. "...There was no life around, and my heart was empty." "At this time, I didn't want to think about the present" (emphasis added) Added by the author). It was in this state of mind that he began to write several chapters of "Morning Blossoms Plucked at Dusk", and prepared the materials for eight "New Stories". At this time and later he wrote "Flying to the Moon" and "Flying to the Moon". "Forging Swords". As far as the genre of novels is concerned, as the writer turned his attention to myths, legends and history, the realist creative method he used in "The Scream" and "Wandering" gave way to romanticism, and then "New Story" appeared with romanticism. An artistic style with the main theme of ism. But realism, a creative method that Lu Xun insisted on using in "The Scream" and "Wandering", will never disappear. It will inevitably be revealed and projected in terms of creative intention, character characterization, etc. "Flying to the Moon" and "Forging a Sword" have slightly more elements of realism than "Matching the Sky". What Lu Xun said, "I don't want to think about the present at this time" is just a subjective wish; and realism, as a creative method used by the subject for a long time, will inevitably generate some dynamic stereotypes in the subject's creative psychology, which may lead to many changes in the creation. It works more or less, obviously or implicitly. This situation is just like how Lu Xun advocated romanticism and was rich in romantic talent in his early years. Although he turned to its opposite during the May Fourth Movement, it was still reflected in his creations.
The five articles written in the later period were written after the fundamental change in Lu Xun's worldview. At this time, the writer was intensely and tirelessly engaged in realistic essay creation with a more abundant revolutionary spirit and a stronger sense of historical mission. The creative psychology strengthened by this situation is projected into the creation of five historical novels such as "Li Shui", which means that the realism element has been strengthened. Before writing "Coming Out of Seclusion" and "Arise from Death", Lu Xun connected with the social reality at that time and felt deeply that it was necessary to "dig up the ancestral graves of those bad people"⑻. Therefore, Lu Xun's five later novels are more closely related to reality. Psychologically, it is obviously different from the "unwillingness to think about the present" in the autumn and winter of 1926. In a sense, the last five chapters of "New Stories" can be seen as the extension and transformation of Lu Xun's essays into the field of pure literature. Of course, the later five chapters still shine with romanticism. In terms of the prominence of emotion, the peculiarity of imagination, and the sustenance of ideals (such as "Water Management"), the romantic color of these five articles cannot be denied. From the perspective of psychological mechanism, when Lu Xun wrote a large number of essays using realism as his creative method for a long time, his very active aesthetic emotions and artistic imagination were suppressed to a considerable extent; these suppressed things were suppressed after a long period of time. The accumulation can only be intensified, and in terms of its composition they tend more toward romanticism. In short, in his long-term essay creation, Lu Xun was suppressed by his romantic talent. This kind of talent usually lives at the bottom of the psychological structure; but once it encounters the right opportunity, it will "emerge" and perform tenacious self-expression. This is the psychological basis for the romanticism thread that still runs through the five later historical novels. Within a certain range, romanticism can express the subject's emotions to the maximum extent and unleash the subject's imagination, thus bringing greater self-entertainment and a sense of release to the writer, which is conducive to achieving the subject's psychological balance.
In fact, not only "New Stories" runs through the thread of romanticism, but also Lu Xun's entire literary career runs through a thread of romanticism - it's just that it has ups and downs and is unpredictable. If the last five chapters of "New Story" are slightly inferior to the first three chapters in terms of romanticism, then many chapters in Lu Xun's later old-style poetry creations prominently express romanticism. In this regard, in addition to being influenced by modern Western romanticism, he was also influenced by the romantic thoughts of Chu and Han Dynasties. It goes without saying that Qu Yuan's poetry and Qu Yuan's artistic spirit had a great influence on Lu Xun, which is recognized by commentators. It goes without saying that the complex human and spiritual aspects expressed in the stone carvings of the Han and Tang dynasties, as well as the intricate artistic atmosphere of ancient and modern times, also had a certain influence on Lu Xun. Combined with these many factors, Lu Xun's old-style poetry creation shows the magnificent color of romanticism. Almost all of the old-style poems he wrote in the 1930s are full of strong romanticism. For example, "Untitled·Dongting Trees Falling in Chu Sky High", "Gift to the Painter", "Inscribed to Sanyi Pagoda", "Mourning for Lord Ding", "Gifted to Two Poems", "Untitled·A Clear Branch of Xiangling", "Untitled" "There are many hooks and thorns in the field", "Zuyu Dafu moved to Hangzhou", "Occasionally written in the remaining autumn of the year of Hai" and other chapters. They mostly use myths and allusions from Chu poetry to create a romantic image of overlapping ancient and modern times and a coexistence of virtuality and reality. The emotions are extremely strong and abundant, and the imagination is unique and rich.
This situation shows that in the later period Lu Xun.