Information about Lu Xun

Lu Xun was born in Shaoxing, Zhejiang in 188 1, but at the age of 13, his grandfather, who was an official in Beijing, was imprisoned for some reason. Since then, my father has been ill for a long time and eventually died, and his family has rapidly declined. Family changes have had a far-reaching impact on young Lu Xun. He is the eldest son of the family, with a lonely and weak mother and a young and weak sister in law. He must bear the burden of life with his mother. His innocent and lively childhood is over, and he has experienced the hardships of life and the changes of the world prematurely. He often takes the prescription prescribed by the doctor for his father to the pharmacy to get medicine, and takes things to the pawnshop to sell. In the past, when his family was well off, people around him looked at him enviously as a little "dude". There is kindness in his words and tenderness in his eyes. But now that my family is poor, the attitudes of people around me have changed: my words are cold, my eyes are cold, and my face is disdainful. The change of people's attitudes around him left a deep impression on Lu Xun's mind, which caused a great blow to his mind and made him feel that China at that time lacked sincere sympathy and love between people. People treat people and things with snobbery: one attitude towards the rich and powerful, another attitude towards the poor and incompetent. Many years later, Lu Xun said with great sadness: "Who fell from a well-off family to a poor situation? I think that on this road, we can probably see the true face of the world. " (Introduction to Scream)

The family changes and life experiences after the changes also made Lu Xun close to the lower class from his childhood. His grandmother lives in the countryside, which gives him the opportunity to get in touch with and understand the life of farmers. Especially before and after his grandfather went to prison, he had to take refuge in relatives in the countryside and live in the countryside for a long time. There, he became friends with children in the country, played with them, rowed boats, watched movies together, and sometimes "stole" beans and cooked them in their fields. There is no mutual discrimination and hatred between them, only mutual care and love. Lu Xun recorded his simple, natural, sincere and simple relationship with rural children as the best interpersonal relationship in his life.

At that time, the average scholar took three roads: one was to study and be an official. Through the imperial examination, you can be promoted, you can make a fortune, your personal worth is a hundred times, and your family background is also envied by the world. This is considered to be the "right path" for scholars. Those who are not officials can also be the "aides" of a bureaucrat, making suggestions for this bureaucrat, running for efficiency and accepting gifts from this bureaucrat. With this bureaucratic power, I also have power. This is the second road that scholars often took at that time. If the first two roads fail, you can still go into business. Although this was despised by bureaucrats at that time, you can make a fortune and not fall to the bottom of the insulted and damaged society. Lu Xun took another road that was most despised at that time: entering the "foreign school". In China at that time, it was generally regarded as a despicable activity of "selling souls to foreign devils". 1898, 18-year-old Lu Xun left his hometown, entered Nanjing Naval Academy, and then transferred to Nanjing Railway and Mining Academy in order to find "others" in a "different place". These two schools were set up by the Westernization School at that time to enrich Qiang Bing. Among them, mathematics, physics, chemistry and other courses are offered to impart natural science knowledge, which is unprecedented in China's traditional education. After class, Lu Xun also read works on foreign literature and social sciences, which greatly broadened his cultural horizons. In particular, Yan Fu's translation of Huxley's Theory of Evolution, an Englishman, had a profound influence on Lu Xun. Evolution is a book introducing Darwin's theory of evolution, which makes Lu Xun realize that the real world is not harmonious and perfect, but full of fierce competition. To survive and develop, a person and a nation must have the spirit of self-reliance, independence and self-improvement. Can't be at the mercy of fate, can't be bullied by the strong.

Lu Xun's life and creation Lu Xun is a man with a strong thirst for knowledge. During his study in Nanjing Road Mining School, his academic performance has been excellent, which gave him the opportunity to study abroad at public expense after graduation. 1902, he went to Japan, began to study Japanese at Hongwen College in Tokyo, and later entered Sendai Medical College. He chose to study medicine in order to treat patients who were victimized by quacks like his father and improve the health of China people who were ridiculed as "the sick man of East Asia". The Japanese realized the value and significance of western science and technology through western medicine, and Lu Xun also wanted to inspire the consciousness of China people through medicine. But his dream didn't last long before it was shattered by the harsh reality. At that time, Japan grew rapidly through the Meiji Restoration, but the forces of Japanese militarism were also developing at the same time. In Japan, as a citizen of a weak country, Lu Xun is often discriminated against by Japanese with militaristic tendencies. In their eyes, all China people are "imbeciles". Lu Xun scored 59 points in the anatomy test, so he suspected that Fujino Genkuro, the anatomy teacher, had leaked the examination questions to him. This made Lu Xun feel deeply sad as a weak country. On one occasion, in a slide show before class, Lu Xun saw a China man being beheaded by the Japanese army, while a group of China people stood by and watched. Lu Xun was greatly stimulated. This made him realize that mental numbness is more terrible than physical weakness. To change the tragic fate of the Chinese nation in the modern world with many powerful countries, the first thing is to change the spirit of China people, and the first thing that is good at changing the spirit of China people is literature and art, so Lu Xun left Sendai Medical College and returned to Tokyo to translate foreign literary works, organize literary magazines, publish articles and engage in literary activities. At that time, what he discussed most with his friends was China's national character: what is the ideal human nature? What is China's national character lacking most? What is the root cause? Through this kind of thinking, Lu Xun linked his personal life experience with the fate of the whole Chinese nation, which laid the basic ideological foundation for him to become a writer and thinker later. At that time, he and his second brother Zhou Zuoren translated two volumes of foreign novels and published a series of important papers, such as Teaching the History of Science, On Cultural Deviation and On Moro Poetry. In these papers, he put forward the important idea that "founding the country" must first "establish people" and enthusiastically called for "soldiers in the spiritual world who aim at resistance and action".

During his study in Japan, Lu Xun had a clearer understanding of the development of contemporary world culture, a more practical thinking about the future and destiny of the Chinese nation, and initially formed his independent world outlook and outlook on life. However, Lu Xun was not a hero who shouted with his arms raised. His thoughts and feelings were not only incomprehensible to most Japanese at that time, but also difficult to be widely echoed by students studying in Japan. The foreign novels he translated can only sell dozens, and the literary magazines he organized can't be published because of lack of funds. The difficulty of family planning forced Lu Xun to return to China to find a job. From 65438 to 0909, he returned from Japan and taught in Hangzhou Zhejiang Normal School (now Hangzhou Senior High School) and Shaoxing High School. This period is a period of extreme depression of Lu Xun's thought. 19 1 1 The Revolution of 1911 also excited him for a while, but then Yuan Shikai proclaimed himself emperor, zhang xun restoration and other historical ugly dramas continued to be staged. The Revolution of 1911 did not change the reality of China's stagnation and backwardness and the historical fate of being bullied by western imperialism. The confusion of society, the disaster of the nation and the misfortune of personal marriage life all made Lu Xun feel depressed and depressed. Life at this time is like a cup of bitter wine, which is drunk in the stomach and bitter in the heart. I want to vomit and I can't bear it. But because of this, after the May 4th New Culture Movement, his repressed thoughts and feelings exploded like lava through literary works. At that time, he was already working in the Ministry of Education and moved to Beijing with the Ministry of Education.

19 18, Lu Xun published his first vernacular novel Diary of a Madman in New Youth magazine, which is also the earliest modern vernacular novel in China, marking the development of China's novels into a brand-new era. This novel embodies all Lu Xun's painful life experiences from childhood and all his painful thoughts on the modern destiny of the Chinese nation. Through the mouth of a madman, it denounced China's feudal autocracy for thousands of years as a history of "cannibalism" and sent out "Never been like this?" Seriously questioned, shouting: "Save the children!" It can be said that Lu Xun's Diary of a Madman is a movement against the traditional feudal autocratic culture and a declaration calling for the reconstruction of China's modern new culture. It used the sharp voice of the insulted and damaged Chinese nation to declare the will and belief of the Chinese nation to rise again in the whole world.

After Diary of a Madman, Lu Xun published several short stories in succession, and later compiled two short story collections, Scream and Hesitation, which were published in 1923 and 1926 respectively.

Lu Xun's novels are few in number, but they are of great significance. China's novels, only when he arrived at Lu Xun's place, focused on the broader subject area of the bottom of society and described the daily life and mental state of these bottom people. This is inseparable from Lu Xun's creative purpose. Lu Xun said: "My materials are mostly taken from the unfortunate people in the morbid society, aiming to expose the suffering of the disease and attract the attention of treatment." How to start a novel with a southern accent and a northern accent? This creative purpose of expressing and improving life made him describe the most common tragic fate of some of the most common people, such as Kong Yiji, Hua Laoshuan, Shan Sisi, Ah Q, Xianglinsao and Ai Gu. These people live at the bottom of society and need sympathy, pity, care and love from people around them most. But in China society at that time, people gave them insults and discrimination, indifference and ruthlessness. Is such a society a normal society? Is this interpersonal relationship reasonable? What saddens us most is that they live in a loveless world and are tortured by life. But they also lack sincere sympathy for each other. They take an indifferent attitude of watching or even appreciating the tragic fate of their own kind, and vent their pent-up resentment when they are oppressed and bullied by bullies weaker than themselves. In Kong Yiji, there are short-sleeved guests who maliciously ridicule Kong Yiji; In The True Story of Ah Q, others bullied Ah Q, and Ah Q bullied a little nun who was weaker than himself. In Blessing, villagers in Luzhen appreciate Sister Xianglin's tragedy as an interesting story ... All this makes people feel a chill. What a heartless world this is! What a twisted life this is! Lu Xun's attitude towards them is "mourn their misfortune and anger their indisputable". Lu Xun loves them, but he wants them to realize that they can stand on their own feet, hold their heads high and fight for their happy future.

In addition to the social figures at the bottom, Lu Xun also created some newly awakened intellectuals. These intellectuals have a need for progress, a good desire to improve society, sincere feelings for others and themselves, and sincere love, but the society at that time could not tolerate them. "Madman" cursed cannibalism, hoping that everyone would become a "non-cannibal" and a "real person". People around him regarded him as a madman and wanted to get rid of him quickly (Diary of a Madman). Yu Xia died for society. Tea drinkers called him a "madman", while Hua Laoshuan cured his son's illness (medicine) with his blood. Wei cared about China society, but society persecuted him. When he stopped caring about China society, people around him came to curry favor with him (the lonely man). Lu in Eating Out, Zi Jun and Juan Sheng in Mourning for the Past all pursued and struggled for the society and themselves, but they all experienced a tragic fate in the stagnant and backward China society. When Lu Xun sympathized with these intellectuals, he sympathized with China society and cared about the fate of the Chinese nation, because only these intellectuals were still struggling for social progress at that time.

Lu Xun has an abhorrent attitude towards two kinds of people in society, that is, dignitaries and hypocrites. Ding in Kong Yiji, Grandpa Zhao in The True Story of Ah Q, Master Lu Si in Blessing, Guo Laowa in The Ever-burning Lamp, and the seven great men in Divorce are all such powerful figures. They were powerful in China society at that time, but they didn't really care about the fate of others, and they didn't have the slightest enthusiasm for social progress. They only care about their own power and status, and they are selfish, hypocritical and cold, which hinders the progress and improvement of society. Siming in soap and Gao Li Gao are hypocrites and hypocrites. They claim to care about social morality, but in fact they are all immoral people.

Lu Xun's novels are about the ordinary life of ordinary people, without bizarre stories and fascinating plots, but full of infinite artistic charm. Where does this charm come from? It comes from his detailed description of people and life and his incisive description of people's subtle psychology. This requires superb artistic skills. There is always a "joy of discovery" when reading Lu Xun's novels. The picture is an ordinary picture, and the characters are ordinary characters, but we can always notice the characteristics that we don't usually notice and perceive the psychological activities of the characters that we don't usually notice in such an ordinary picture and ordinary characters. It is precisely because of this meticulous description and incisive psychological portrayal that the artistic charm of Lu Xun's novels has become more mellow as time goes by. In youth, we are not deeply involved in the world and have no more personal life experiences. Lu Xun's novels enter our sensory world as a whole, but we can't fully feel how rich the connotation hidden in the characters and pictures we feel. With the increase of our social experience and the deepening of our life experience, the connotation of these characters and pictures will continue to sprout from it. In order to reveal the different meanings of different life scenes and the fate of different characters, the structure of Lu Xun's novels is changeable, with almost one style and one writing style. Diary of a Madman is different from The True Story of Ah Q, Kong Yiji is different from White Light, hometown is different from Blessing, and lonely people are different from Mourning for the Past. Not only the structural style is different, but also the pitch rhythm is different. Kong Yiji is so simple and cold, while Mourning for the Past is so tortuous and profound. Lu Xun's novels are novels and poems, with deep artistic conception, cold outside and hot inside, and the use of national language skills to achieve perfection.

While creating Scream and Wandering, Lu Xun also created a collection of essays, Flowers in the Morning and Flowers in the Evening, and a collection of prose poems, Weeds. The former was published in 1928 and the latter in 1927. If the novels in Scream and Hesitation are Lu Xun's grim portrayal of real social life and are intended to alert the sleeping people, then the prose in Morning Flowers is Lu Xun's warm memories and deep memory of the people and things that nourished his life. When I was a child, Mr. Fujino, the nanny's mother, gave him sincere care in a discriminated environment. Fan Ainong, an old friend with a rough and arrogant life, gave him a "Herbal Garden" full of infinite fun, as well as folk dramas and folk entertainment activities that attracted his curiosity ... All these revealed bright colors and warmth in this sinister world background, which nourished Lu Xun's life. These essays are lyrical, narrative and argumentative, sometimes like a calm harbor, sometimes like a rolling sea, sometimes like a rushing river, and sometimes like a winding stream, which embodies the artistic achievements of Lu Xun's prose creation. Different from the clear and meticulous prose in Morning Flowers and Evening Picks, the prose poetry in Weeds presents an ethereal and fantastic artistic conception. They are like clouds of emotion, spinning and floating in the air, changing into various unexpected shapes. Lu Xun's inner anguish turned into a dream and a transcendental imagination, which made Wild Grass a wonderful flower in China's modernist literature. Lu Xun once said to others, "My philosophy is all in Weeds." Lu Xun's deepest emotional experience and the most mysterious philosophical sentiment are conveyed through this peculiar artistic means. Lu Xun's artistic creativity is amazing.

Lu Xun's essays should first fully reflect his creative spirit and creativity. "Essays" have existed since ancient times, and similar examples can be found in foreign essays. However, only in the modern cultural history of China, in the hands of Lu Xun, did the "essays" show its unique artistic charm and great ideological potential. Lu Xun's essays can be said to be an "epic" of China's modern culture, which not only recorded Lu Xun's fighting achievements in his life, but also recorded the ideological and cultural history of China at that time. Different from western culture, China ancient culture was ruled by a religious culture, that is, the Christian culture in the Middle Ages. As long as we get rid of the bondage and imprisonment of this religious culture, modern western culture will have the power to develop. The ancient culture of China is composed of different cultures. In the process of development and evolution for thousands of years, various cultures have blended with each other. When modern intellectuals in China want to create new cultures and new ideas that adapt to the modern development of China, they encounter slanders and attacks from different classes, figures, angles and ways. Lu Xun's essays are naturally formed in this ideological and cultural struggle with no fixed front and no fixed enemies. From the May 4th Movement, Lu Xun began to struggle against various arguments against the new culture in the form of essays, but he was not conscious at that time. Later, some people began to laugh at him as an "essayist", and he became more aware of the power of "essays" and began to consciously engage in essay creation. Lu Xun said that essays are "nerves of induction" and can "react or fight against harmful things immediately", thus opening up a tortuous road for the development of new culture and new ideas in the thorns of old culture and old ideas, so that they can exist, develop and grow. Lu Xun wrote 65,438+in his life, such as Grave, Hot Wind, Collection of Gai Hua, Collection of Continued Covering Flowers, Three Ji Xian, Collection of Two Hearts, Mobilizing the South to the North, Pseudo-Free Book, Quasi-Romantic Talk, Lace Literature, Essays on Street Pavilion, etc. There are ruthless revelations, angry accusations, sharp criticisms, bitter satires, witty humor, meticulous analysis, decisive judgment, passionate expression, painful cries, cordial encouragement, enthusiastic praise, brush strokes, flying words and various forms and changes. It completely broke the shackles of the "gentle and honest" aesthetic style of China's ancient prose, expressed the feelings and emotional experiences of modern people more freely and boldly, and opened up a broader road for the development of China's prose. The status of Lu Xun's essays in the history of modern literature in China is undeniable.

In his later years, Lu Xun also completed a novel collection, New Stories (published by 1936). This collection of novels is based on China's ancient myths and legends and historical facts, but it does not stick to the original story, but adds Lu Xun's own understanding and imagination, and some of them also adopt the writing technique of blending ancient and modern, so that ancient people and modern people can have a direct dialogue. The purpose of Lu Xun's doing this is to let us feel and understand the true face of some real people through the feelings and understanding of real people and the ancients. Through the novels in New Stories, Lu Xun actually reconstructed the cultural history of China, revealed the foundation of the existence and development of the Chinese nation, and reshaped the image of historical figures sanctified by feudal literati in China. Mending the sky can be regarded as a "genesis" of the Chinese nation. In Lu Xun's view, it is not the ancient sages and emperors who truly embody the fundamental spirit of the Chinese nation, but the Nu Wa who created the Chinese nation. She is the source and symbol of Chinese national vitality. Running to the Moon is about the tragedy of an ancient hero, which saved mankind in nine days, but those selfish and narrow-minded people don't want to inherit and carry forward his heroic spirit, just want to use him to achieve their selfish and narrow-minded goals. He was assassinated by his own students and abandoned by his wife. Casting Sword shows the theme of revenge of the oppressed on their oppressors. "Water Control" and "Non-attack" praised the politicians and thinkers who practiced in ancient China. Yu He is the backbone of the Chinese nation. Confucius, Laozi, Zhuangzi, Boyi and Shu Qi, historical figures, have really become funny but still lovely living figures in Lu Xun's works. Lu Xun's New Stories expresses serious themes in an absurd way, and creates a brand-new way of writing historical novels.

Lu Xun's creativity in thought and art is amazing. He has his own brand-new creations in short stories, essays, prose poems, historical novels and essays. This makes him the greatest writer in China in the 20th century and a world-class literary master. His life is a life of struggle for the survival and development of the Chinese nation. He used his pen to maintain social justice, resist power, protect youth and cultivate new forces. In the early stage, he enthusiastically supported the just struggle of young students, exposed the criminal acts of the Duan government in suppressing the student movement and creating the "March 18th" tragedy, and wrote a series of shocking articles such as "In Memory of the King". Later, he opposed the Kuomintang government's bloody suppression of * * * producers and progressive youth, joined the League of Chinese Left-wing Writers and the League of Civil Rights Protection, and wrote a series of articles full of righteousness and justice, such as Commemorating Forgetting. "Lu Xun's bones are the hardest. He's not servile. This is the most precious character of the colonial and semi-colonial people. " (Mao Zedong: On New Democracy)

1936 65438+ 10/9, Lu Xun died in Shanghai. Thousands of ordinary people came to see him off, and his coffin was covered with a banner with the words "soul of china".