Xiao Hong (1911-1942), whose original name was Zhang Xi (with Chinese characters added) and her pen name Xiao Hong, also known as Qin Yin, was born into a landlord family in Hulan County, Heilongjiang Province. In order to escape from marriage and run away, she submitted articles to a newspaper in embarrassment, and met Xiao Jun. The two fell in love, and Xiao Hong also embarked on the path of writing. Together, they completed the collection of essays "Shangshi Street". In 1934, Xiao Hong completed the novel "The Field of Life and Death" and published it as one of the "Slave Books" with the help of Lu Xun. Xiao Hong thus achieved a status in the history of modern literature. Xiao Hong also has a novel with a left-wing realism style, "Mabele", but the quality is not high. Her most successful novels are the memoir "The Story of Hulan River" written in Hong Kong, and a series of short and medium-length stories recalling her hometown, such as "Ox Cart" and "March in a Small Town".
This woman with no higher education but a genius for writing had a tragic fate. When she died in Hong Kong on January 22, 1942, the two men in her life were not around. (Yu Hui)
Resume and bibliography:
Xiao Hong (1911.6.2-1942.1.22), whose original name is Zhang Naiying, also has the pen name Yin Yin, a native of Hulan, Heilongjiang . His mother died when he was young, and he went to middle school in Harbin in 1928, where he was exposed to progressive ideas and Chinese and foreign literature since the May Fourth Movement. He was especially influenced by the works of Lu Xun, Mao Dun and the American writer Sinclair. Dissatisfied with the feudal family and arranged marriages, he ran away from home in 1930 and experienced many ups and downs. In 1932, he and Xiao Jun lived together. The two met many progressive literati and participated in anti-Manchu and anti-Japanese activities.
In 1933, he and Xiao Jun published the first collection of works "Travel" at their own expense. With the help and support of Lu Xun, he published his famous work "The Field of Life and Death" in 1935 (he started using the pen name Xiao Hong) and became famous in the literary world.
In 1936, in order to get rid of his mental distress, he traveled east to Japan and wrote the prose "Lonely Life" and the long poem "Sand" in Tokyo.
He arrived in Hong Kong with Duanmu Xiaohongliang in 1940, and soon published the novella "Mabele" and the famous novel "The Story of Hulan River".
In 1942, after going through many ups and downs, he died of illness in Hong Kong at the age of 31.
Bibliography of works:
"Travel" (a collection of novels and essays), co-authored with Xiao Jun, 1933 (published at his own expense)
"The Field of Life and Death" (Chinese version) Novel) 1935, Shanghai Rongguang Book Company; 1980, Heilongjiang People
"Liu Xin Frame? Prose Collection") 1936, Wen Sheng
"Bridge" (Novel, Prose Collection) 1936, Wen Sheng
"The Bullock Cart" (novel and essay collection) 1937, Vincent
"The Call of the Wilderness" (short story collection) 1940, Chinese Magazine
" "Xiao Hong's Prose" 1940, Chongqing Great Times Bookstore
"Recalling Mr. Lu Xun" (essay) 1940, Chongqing Women's Life Society
"Mabele" (novella) 1941, Chongqing Great Times Times Bookstore
"The Story of Hulan River" (novel) 1941, 1954, New Literature and Art; 1979, Heilongjiang People
"Hand" (novel) 1943, Guilin Yuanfang Bookstore
"March in a Small Town" (novel) 1948, Ocean Bookstore, Hong Kong
"Selected Works of Xiao Hong" (a collection of novels and short stories) 1958, humanities
"Xiao Hong" "Selected Works" 1981, Humanities
"Annotations of the Brief Collection of Xiao Hong's Books" compiled by Xiao Jun, 1981, Heilongjiang People
"Xiao Hong's Short Stories 1982, Heilongjiang People
"Selected Prose by Xiao Hong" 1982, Baihua
"Xiao Hong" (Selected Collection of Modern Chinese Writers) 1984, Humanities
"Xiao Hong's Representative Works" (Collection of Short Stories) 1987, Humanities
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Chekhov, a great Russian critical realist writer at the end of the 19th century, a master of humorous satire with meaningful taste and sharp writing style, a master of short stories and a famous playwright. With his outstanding talent for satirical humor, he added two immortal artistic images to the gallery of world literary figures. His famous saying "Simplicity is the sister of genius" has also become a motto pursued by later writers.
His novels are short and concise, simple and simple, with compact structure, vivid plots, humorous writing style, bright language, full of musical rhythm and profound meaning. He was good at discovering people and events of typical significance from daily life, making artistic summaries through humorous and ridiculous plots, and creating a complete typical image to reflect the Russian society at that time. His representative works "The Chameleon" and "The Man in the Trap" can be called exquisite and perfect art treasures in the history of Russian literature. The former has become synonymous with those who adapt to the wind, are good at disguise, and speculate; the latter has become the symbol of those who are conservative, timid, and afraid of change. Symbol symbolism.
The following is a more detailed introduction:
Chekhov, A. П． (АнтонПавловичЧехов 1860～1904) Russian novelist and dramatist. Born on January 29, 1860 in Taganrog, Rostov Province. My grandfather was a redeemed serf. His father once opened a grocery store, but it went bankrupt in 1876 and the family moved to Moscow.
But Chekhov stayed alone in Taganrog, working as a tutor to make ends meet and continue his studies. In 1879, he entered the Department of Medicine of Moscow State University. After graduating in 1884, he practiced medicine in Zvenigorod and other places, where he had extensive contact with civilians and learned about life, which had a good influence on his literary creation.
In Russia in the 1880s, the reactionary book censorship system was unprecedentedly strict, and vulgar and boring humorous publications were all the rage. When Chekhov began to write, he often submitted articles to such magazines (such as "Dragonfly" and "Fragment") under the pseudonym Antonsha Chihont. The short story "A Letter to a Learned Friendly Neighbor" (1880) and the humorous sketch "What is the most common thing in novels, novellas, etc.?" "(1880) is his first published work. Before the mid-1980s, he wrote a large number of witty sketches and humorous short stories. Many of them were jokes and anecdotes of little value, but there were also some excellent works among them, which inherited the fine tradition of democracy in Russian literature and criticized the social trends at that time. Ugly phenomena, such as writing about petty officials who bully the weak ("On the Nail", "Death of an Official", "Victor's Victory", all 1883), gentry and lords who bully the weak ("English Woman" 1883) , a slave who adapts to the wind ("Chameleon", 1884), and a defender of the autocratic system ("Sergeant Prishibeev", 1885). However, he was forced to make ends meet and lack experience. At that time, he mainly only wanted quick success and productivity. In March 1886, the famous writer Grigorovich wrote a letter asking him to respect his talent. He was deeply inspired and began to take creation seriously. "Wanka" and "Affliction" written in 1886 and "Sleep" in 1888 show the writer's deep sympathy for the poor working people. The famous novella "Prairie" published in 1888 depicts and praises the nature of the motherland, ponders the fate of farmers, and expresses the people's desire for a happy life. "Name Day" (1888) and "The Duchess" (1889) exposed hypocrisy, vanity and vulgarity. These works have obvious progress in ideological content and artistic skills. However, Chekhov, who was influenced by the petty bourgeois environment, did not care about politics at this time. He just "wanted to be a free artist" and had "the most absolute freedom." From 1886 he wrote for the "New Times" published by the reactionary literary man Suvorin, and despite the advice of the critic N. Mikhailovsky, he still maintained relations with it. In October 1888, Chekhov won half of the "Pushkin Prize". By this time he was the author of five short story collections ("The Story of Melpomeni", 1884; "Colorful Stories", 1886; "In the Dark", 1887; "Innocent Words", 1887; "Short Stories"). Collected Stories, 1888). His increasing reputation and status made him strongly aware of his social responsibility as a writer, and he seriously thought about the purpose of life and the meaning of creation. He said: "A conscious life, if it lacks a clear world view, is not life, but a burden and a terrible thing." This idea is vividly expressed in the novella "The Boring Story" (1889).
From this period, Chekhov began to write dramas. One-act plays "Marriage" (1890) and "On the Dangers of Tobacco" (1886), "The Idiot" (1888), "The Proposal" (1888～1889), "An Involuntarily Tragic Character" (1889～1890), "Memorial Day" "(1891～1892) and other light-hearted comedies are close to his early humorous works in terms of ideological content and comedy. The play "Ivanov" (1887~1889) criticizes the "superfluous people" of the 1980s who lack firm beliefs and cannot withstand the test of life.
From April to December 1890, the frail Chekhov traveled long distances to Sakhalin Island, where the tsarist government settled hard labor prisoners and exiled prisoners. He visited all the residents there, "nearly 10,000 Prisoners and immigrants" are investigated one by one. The trip to Sakhalin improved his ideological consciousness and creative artistic conception. In 1891, he said in a letter: "... If I am a writer, I need to live among the people... I need at least a little bit of social life and political life, even a little bit." He began to realize He realized that writing for the New Times brought him nothing but "disaster", and he finally severed ties with the publication in 1893. He had a relatively deep understanding of the Russian autocratic system, and wrote works such as "Sakhalin" (1893-1894) and "In Exile" (1892), and the most important thing is the shocking "The Sixth The Ward" (1892). This novella indicts the horror of the prison-like Tsarist Russia, and also criticizes his own Tolstoyanism of "Do not resist evil with violence" that he was obsessed with not long ago. After reading it, Lenin was strongly affected and said that he "felt so terrible" that he "could not stay in the room" and "felt as if he was also locked in the 'Sixth Ward'".
Between 1890 and 1900, Chekhov went to Milan, Venice, Vienna and Paris to recuperate and travel. From 1892 he settled in the newly acquired Merikhovo estate in Serpukhov District, Moscow Province. In 1898, Chekhov, who was seriously ill with tuberculosis, moved to Yalta. In 1901 he married Olga Knibil, an actress of the Moscow Art Theater. In Yalta he often met with Tolstoy, Gorky, Bunin, Kuprin and Levitan.
The 1890s and early 20th century were the heyday of Chekhov's creation. At that time, the Russian liberation movement entered a new stage of proletarian revolution. Agitated by the passionate sentiments of the revolutionary class, the democratic spirit among students and other residents became increasingly active. Chekhov also gradually overcame his apolitical tendency and actively participated in social activities: in 1892, he provided famine relief in Nizhny Novgorod and Voronezh provinces; from 1892 to 1893, he participated in the work of eradicating cholera in Serpukhov County. ; Participated in the census work in 1897; In 1898, he supported French writer Zola's just action to defend Dreyfus, and therefore alienated his relationship with Suvorin; In 1902, in order to protest against the decision of the tsarist authorities to cancel Gorky's qualifications as an honorary academician of the Academy of Sciences , he and Korolenko gave up the title of honorary academician of the Academy of Sciences they had received in 1900; in 1903, he funded young students who were persecuted for fighting for democracy and freedom. His democratic stance became increasingly firm, his observation of the fundamentals of social life became more profound, and his premonition of the brewing revolution became increasingly clear, and he gradually saw vague "fire" in the dark reality. His creation entered a new stage. He emphasized that works of art should have clear ideas (play "The Seagull", 1896); he touched on major social issues in a series of works. For example, "The Peasant" (1897) reflects the poverty of the material and spiritual life of the peasants with sober realism: abject poverty, ignorance, backwardness and barbarism; "In the Canyon" (1900) also depicts the rural bourgeoisie - the rich peasants going crazy Looting wealth and cruel nature. These novels were a powerful rebuttal to the populists who glorified rural commune life. The theme of exposing capitalism can also be found in works such as "The Kingdom of Woman" (1894) and "Three Years" (1895); while "The Doctor" (1898) shows that the "devil" of capitalism not only oppresses workers, but also tortures factory owners. The conscience of the descendants, who realize that life is meaningless and unreasonable, is deeply depressed and disturbed. The play "Uncle Vanya" (1897) describes the sad fate of intellectuals who have no real ideals and serious goals. Their honest and selfless labor eventually becomes a meaningless sacrifice. "The Woman with the Dog" (1899) takes love as the theme, exposes vulgarity and hypocrisy, and arouses readers' "disgust for the muddy, half-dead life...". "The House with an Attic" (1896) and "My Life" (1896) deny the "little things" theory that replaced social struggle with daily work, which was popular in the 1980s and 1990s. They criticize the gradualism of liberals and believe that a A "stronger, braver and faster way of struggle" must go out of the narrow circle of daily activities and influence the broad masses. The cry of "Can't live like this anymore!" gradually resounded in his creation. In "The Trapped Man" (1898), he reveals the suppression of society by the reactionary forces in the 1980s and their conservatism and weakness, and denounces the trapping habit that existed at that time. In "Gooseberry" (1898) and "Yao Nitch" (1898), he portrayed the spiritual emptiness and depravity of selfish mediocre people who huddled in their own small world of personal happiness, and pointed out that "what people need is not three feet of land. , nor a manor, but the whole earth, the whole nature, in that vast space man can develop to the fullest all the qualities and characteristics of his free spirit.”
With the further rise of social movements in the early 20th century, Chekhov realized that a powerful "storm" that would wipe out everything was about to come, and vices such as laziness, apathy, and aversion to labor in society would be wiped out. Sweep away. He praised labor and hoped that everyone would use their own work to prepare for a better future ("Three Sisters", 1900-1901). "The Bride" (1903), written on the eve of the 1905 revolution, expresses the desire to "turn over life" and rush to a new life. The play "The Cherry Orchard" (1903-1904) shows the inevitable decline of the aristocracy and the historical process of its replacement by the emerging bourgeoisie. It also expresses the optimism of resolutely bidding farewell to the past and yearning for a happy future: The ax used to cut wood in the Cherry Orchard Accompanied by cheers of "Long live the new life!" However, because Chekhov's ideological stance never transcended the scope of democracy, the newcomers he wrote did not know the only way to create a new life. The "new life" they longed for was always just a vague longing.
In June 1904, due to the deterioration of his condition, Chekhov went to Badenweiler, Germany for treatment. He died there on July 15, and his body was transported back to Moscow for burial.
Chekhov created a lyrical psychological novel with unique style, conciseness and comprehensiveness, and exquisite art. He intercepts fragments of ordinary daily life and uses exquisite artistic details to truly depict and depict life and characters, displaying important social content. This kind of novel has a strong lyrical flavor, expressing his dissatisfaction with the ugly reality and yearning for a better future, and melting praise and derogation, joy and pain into the image system of the work. He believes: "The sister of genius is conciseness" and "the skill of writing is the skill of deleting poor writing". He advocates "objective" narration, saying "the more objective it is, the deeper the impression will be." He trusts readers' imagination and understanding, and advocates letting readers figure out the meaning of the work from the image system.
The themes, tendencies and styles of Chekhov’s drama creations are basically similar to his lyrical psychological novels. He does not pursue bizarre and tortuous plots. He describes ordinary daily life and characters, revealing important aspects of social life.
There are rich subtexts and strong lyricism in Chekhov's plays; his realism is full of inspiring power and profound symbolic significance. "The Seagull" and "The Cherry Orchard" are both his original artistic symbols. Stanislavsky, Danchenko and the Moscow Art Theater (founded in 1898) collaborated creatively with Chekhov and made major innovations in stage technique.
Chekhov occupies his place in world literature. He is as famous as Maupassant for his short stories. Many writers in Europe and the United States have talked about the impact of Chekhov's creations on 20th century literature. In China, novels such as "The Black Priest" and "The Sixth Ward" were translated and introduced shortly after Chekhov's death. His plays "Haiou", "Uncle Vanya", "Three Sisters" and "The Cherry Orchard" were also translated into Chinese by Zheng Zhenduo and Cao Jinghua as early as 1921 and 1925 respectively. Later, Lu Xun Art Academy performed "Idiot", "Proposal" and "Anniversary" in Yan'an. Qu Qiubai, Lu Xun, Mao Dun, Guo Moruo, Ba Jin, etc. have all discussed Chekhov. Almost all of his novels and plays have been translated into Chinese.
“On the stage, everything must be as complicated as in life, and at the same time as simple. People eat, just eat, but at this time their happiness is formed, or their lives are destroyed. ”
——Chekhov
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Lu Xun [September 25, 1881 ~ October 19, 1936], Chinese writer, thinker and revolutionary. His original name was Zhou Shuren, his courtesy name was Hencai, and he was a native of Shaoxing, Zhejiang. Born into a run-down feudal family. In his youth, he was influenced by the theory of evolution, Nietzsche's philosophy of the Superman and Tolstoy's thought of philanthropy. In 1902, he went to Japan to study. He originally studied medicine at Sendai Medical College and later engaged in literary and artistic work, in an attempt to change the national spirit. From 1905 to 1907, he participated in the activities of the revolutionary party and published papers such as "On the Power of Moro Poetry" and "On Cultural Partiality". During this period, he returned to China and married his wife, Zhu An, at the behest of his mother. In 1909, together with his brother Zhou Zuoren, he co-translated "Collection of Foreign Novels" to introduce foreign literature. He returned to China in the same year and taught in Hangzhou and Shaoxing successively. After the Revolution of 1911, he served as a minister and official in the Ministry of Education of the Nanjing Provisional Government and the Beijing Government, and also taught at Peking University, Women's Normal University and other schools. In May 1918, he published the first vernacular novel "Diary of a Madman" in the history of modern Chinese literature using the pen name "Lu Xun" for the first time, laying the foundation for the New Literature Movement. Before and after the May 4th Movement, he participated in the work of "New Youth" magazine and became the main leader of the "May 4th" New Culture Movement. From 1918 to 1926, he successively created and published novel collections "Scream", "Wandering", essay collection "Grave", prose collection "Weeds", essay collection "Morning Flowers Picked at Dusk", essay collection "Hot Wind", "Huagai Collection" ", "The Sequel to the Huagai Collection" and other special volumes. Among them, the novella "The True Story of Ah Q" published in December 1921 is an immortal masterpiece in the history of modern Chinese literature. In August 1926, he was wanted by the Beiyang warlord government for supporting the Beijing student patriotic movement. He went south to serve as the director of the Chinese Department of Xiamen University. In January 1927, he went to Guangzhou, the then revolutionary center, and served as the academic director of Sun Yat-sen University. He arrived in Shanghai in October 1927 and began living with his student Xu Guangping. In 1929, his son Zhou Haiying was born. Since 1930, he has participated in the Chinese Freedom Movement Alliance, the Chinese Left-wing Writers Alliance and the Chinese Civil Rights Protection Alliance to resist the dictatorship and political persecution of the Kuomintang government. From 1927 to 1936, he created most of the works in the historical novel collection "New Stories" and a large number of essays, which were collected in "Ji Ji Ji", "San Xian Ji", "Two Hearts Collection", and "Nan Qian Bei Diao Ji" ", "Pseudo Free Letters", "Quan Feng Yue Tan", "Lace Literature", "Qie Jie Ting's Essays", "Qie Jie Ting's Essays, Part Two", "Qie Jie Ting's Essays, The Last Series", "Ji Wai Ji" and Special collections such as "Collections from Jiwai Ji". Lu Xun made great contributions to China's cultural undertakings throughout his life: he led and supported literary groups such as "Weiming Society" and "Chaohua Society"; he edited "National Newspaper Supplement" [B Type] and "Wild Plains" , "Yusi", "Running", "Grudge", "Translation" and other literary and art journals; enthusiastically care for and actively cultivate young authors; vigorously translate foreign progressive literary works and introduce famous paintings and woodcuts at home and abroad; collect, research and organize A large amount of classical literature, compiled "A Brief History of Chinese Novels" and "An Outline of the History of Chinese Literature", compiled "Collections of Ji Kang", and compiled "Miscellaneous Records of Old Books from Kuaiji County", "Ancient Novels", and "Records of Legends of the Tang and Song Dynasties" , "Novel Old News Notes" and so on. He died of tuberculosis in Shanghai on October 19, 1936. Tens of thousands of people in Shanghai spontaneously held public memorials and funerals, and he was buried in Hongqiao Cemetery of All Nations. In 1956, Lu Xun's body was moved to Hongkou Park and Mao Zedong inscribed the rebuilt tomb of Lu Xun. In 1938, "The Complete Works of Lu Xun" (twenty volumes) was published. After the founding of the People's Republic of China, Lu Xun's writings and translations have been compiled into "The Complete Works of Lu Xun" (ten volumes), "Collected Translations of Lu Xun" (ten volumes), "Lu Xun's Diary" (two volumes), and "Collected Letters of Lu Xun" , and reprinted many ancient books compiled by Lu Xun. In 1981, "The Complete Works of Lu Xun" (sixteen volumes) was published. Lu Xun museums and memorial halls have been established in Beijing, Shanghai, Shaoxing, Guangzhou, Xiamen and other places. Dozens of Lu Xun's novels, essays, poems, and essays have been selected into Chinese textbooks for middle and primary schools. The novels "Blessing", "The True Story of Ah Q", "Medicine", etc. have been adapted into movies.
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Xiao Jun’s original name was Liu Honglin. Also known as Liu Yinfei and Liu Weilin. In addition to Xiao Jun, his pen names include Sanlang, Tian Jun, etc. Xiao Jun was born in 1907 in Xianaanpangou Village, Yi County, Liaoning Province (now Jin County).
In 1929, Xiao Jun wrote his first vernacular novel "Coward...", using the pen name "Blushed Sanlang", and published it in Shenyang " Shengjing Times. The novel angrily exposed the atrocities committed by warlords against soldiers. Then Xiao Jun published novels such as "Duanyang Festival", "Whip Marks", "In the Sound of the Whistle" and "By the Lone Grave" in the "Shengjing Times".
In early 1932, Xiao Jun arrived in Harbin. He officially started his literary career and officially became a member of the revolutionary literary and artistic team led by the party's underground organization. In the autumn of 1933, he and Xiao Hong jointly published a short story collection "Travel". It includes six novels by Xiao Jun, including "The Orphan", "The Heart of the Candle", "The Love Thread", "This Is a Common Thing", "The Madman", and "The Inferior Man".
In mid-June 1934, he left his hometown in Northeast China and came to Guannei. In Qingdao, Xiao Jun and Xiao Hong were editing the supplement of "Qingdao Morning News" and writing at the same time. Xiao Jun finished writing his famous work "Countryside in August" here. In July 1935, Xiao Jun "illegally" published the novel "August Village" at his own expense, which immediately caused a sensation in the literary world and established Xiao Jun's position in the history of modern literature in my country.
In terms of art, "August Countryside" has distinctive features. First of all, it strongly attracts readers with its rich local color. Secondly, in terms of characterization, Xiao Jun can not only accurately grasp the characters' personalities and sketch them, but he is also good at meticulously sculpting them, and often combines the two to describe them. In addition, the style of "August Countryside" is also simple and vigorous, full of an irrepressible power, which can be said to be the art of "force". This artistic style is particularly reflected in the summary and excavation of social life.
During this period, Xiao Jun’s creative power was extremely strong. After "The Countryside in August", he published short story collections "Sheep" and "On the River", essay collections "October 15th", "The Story of Green Leaves", and the novella "Trickle", etc. It was on this basis that Xiao Jun began to write his masterpiece "The Third Generation". Starting from the spring of 1936, he wrote intermittently for nearly twenty years before he finished it. This masterpiece comprehensively and truly reproduces the social reality of Northeastern China under the rule of imperialism and feudal warlords during the old democratic revolution period with magnificent spirit.
Going to Yan'an for the second time in June 1940. From this time until the late winter of 1945, Xiao Jun lived and worked in Yan'an. He served as director of the Lu Xun Research Association, director of the "Literary Association" branch, editor of "Literary Monthly", and teacher of Lu Xun Academy of Arts and Letters.
After the victory of the Anti-Japanese War, he returned to Harbin on September 23, 1946 after an absence of twelve years. Xiao Jun has successively served as the dean of the Bian Xun College of Arts and Letters of Northeastern University, the president of Lu Xun Cultural Publishing House, and the editor-in-chief of "Cultural News". At this time, the controversy between the "Culture Newspaper" and "Life Newspaper" occurred. At that time, the "Decision on Xiao Jun's Issue" made by the Northeast Bureau of the Central Committee of the Communist Party of China confirmed the political persecution of Xiao Jun. From then on, Xiao Jun was excluded from the literary and artistic circles and was buried in oblivion for thirty years.
Under extremely difficult adversity, Xiao Jun wrote a large number of works such as "The Mines of May", "The Spring and Autumn History of Wuyue" and the last part of "The Third Generation". Even during the ten years of turmoil, he never put down his pen when he was in prison and wrote a large number of poems. In recent years, he has published "Annotations on Xiao Hong's Letters from Lu Xun to Xiao Jun" and "Annotations on Xiao Hong's Letters to Xiao Hong". Important works such as "Records" and "Xiao Jun's Recent Works" were published.
These works written by Xiao Jun after liberation are not only more profound in thought, but also strive for excellence in art. In recent years, Xiao Jun has also published works such as "Xiao Jun's Recent Works", "Xiao Hong's Brief Annotations on Xiao Hong's Letters", and "Lu Xun's Brief Annotations on Xiao Hong's Letters to Xiao Jun". These works not only preserve valuable literary and historical materials, but are also very beautiful prose art treasures. Especially the last two works, titled "Annotations," are actually unique works of art.
After smashing the "Gang of Four", the party completely rehabilitated Comrade Xiao Jun, restored his reputation, and made a new and fair conclusion that was consistent with historical facts, fully affirming his "devotion to the national liberation movement in his early years and his own His literary creation promoted the resistance to Japan and national salvation, and opposed the traitorous policies and dictatorship of the Kuomintang reactionaries. He revoked the "Xiao Jun's decision on the issue" of the Northeast Bureau in 1948 and overthrew the various false accusations imposed on Xiao Jun by the "Gang of Four". The poem praised "Comrade Xiao Jun supports the Communist Party of China and socialism, and is a revolutionary writer with national integrity."
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