As a strong man with "a cold eyebrow and a thousand fingers", Lu Xun is a banner that will never fall in people's eyes, a pioneer in the literary world, and a democratic fighter. The cold and hard image that Lu Xun always displayed often made people ignore the tenderness in his heart, about love, family affection, and love for new life. This article will start from the images of children in "The Scream" and "Weeds" to briefly analyze Lu Xun's watery tenderness.
In 1931, when Lu Xun faced slander and even said that "even a baby less than a year old was sprayed with blood along with me", he angrily wrote a poem "Answer to Guest's Criticism": Ruthless He may not be a true hero, but how can he not be a husband if he pities his son? Do you know that those who stir up the wind and roar are smaller than the dodder when they look back? When I first read the last two sentences, I just felt that the word "look back" brings out a lot of tenderness, which is a father's care for his children. The poem truly expresses Lu Xun's tenderness towards his children and the next generation. On a deeper level, from the poem, we can see Lu Xun's thinking on the relationship between tenderness and iron bones. A man who criticizes current affairs and uses his pen as a blade should also have tenderness for the next generation and ardent expectations for the descendants of the revolution.
This idea runs through many of Lu Xun's works. In the well-known "Diary of a Madman", Lu Xun made a deafening voice: "There are no children who have eaten people, or are there any? Save the child ." He was deeply saddened by the bad nature of the people at that time. In spite of the pain, he could only place his hope for life on his children. Only the continuation of life can bring new hope, so in "Reflections. Twenty-Five", Lu Xun wrote: "Looking at teenagers, you can predict the situation in China twenty years later..." Based on this, he himself is willing to be a coward, willing to "carry the burden of tradition, shoulder the gate of darkness, and let them go to a broad and bright place; from then on, they can live happily and live a reasonable life." From this , we can find a very important component of Lu Xun’s thought, namely the child-centered thought. This point has not received much attention in previous studies. Later people paid more attention to the themes of peasants and intellectuals in Lu Xun's works. The characters of these themes are even more classic, such as Kong Yiji, Ah Q, and Wei Lianshu. ...However, as Qian Liqun said: "We often focus on the angry Lu Xun, but ignore the compassionate and caring side of Lu Xun." As a warrior, Lu Xun deserves our respect. Similarly, as the most beloved person in the world, Lu Xun, It is also worthy of our admiration. How to look at Lu Xun's loving side, we can find the answer from a series of children's images he created.
A pure day is the most joyful
In Mencius's "Theory of Inherent Goodness of Human Nature", children who have not been infected by the world are innocent, pure and lovely. Similarly, there are some such children's images in Lu Xun's works. They are smart, cute, kind, and full of curiosity, and they carry Lu Xun's expectations for the future. In the article "Hometown", the young Runtu is impressive. At that time, Runtu had not yet been invaded by feudal ethics and feudal ideas. In the article, he had a "round purple face, a small felt hat on his head, and a shining silver collar around his neck." Smart and capable, there is always something Many novel ideas left "me" wonderful childhood memories. Between the lines, we can all feel the author's love for the character of young Runtu. Such a beautiful young man is exactly what Lu Xun has always expected. However, Runtu did not grow into a new person, and he eventually succumbed to feudal oppression. Does this represent the destruction of Lu Xun's "younger-oriented" thought? In the latter part of the article, he wrote: "But our descendants are still the same. Hong'er is missing Shui Sheng." Establishing new ideas is not easy and cannot be accomplished overnight. Although Runtu failed to grow into a new person in the end, this journey will not end. Lu Xun always had hopes that in the next generation, the next generation, there would be new people growing up and there would be new hope. That beautiful scene will also reappear: "A piece of green sand on the seashore spreads out in front of you, and a golden full moon hangs in the deep blue sky above."
Collected in "The Scream" Another work, "She Opera", also created a series of innocent and lovely children's images. Smart Shuangxi, sincere Afa, a group of children rowing a boat and stealing beans. The boat is like a big white fish, as if it is going to carry them towards a better future. In that small village, the children are sincere and kind, pure and simple. They do not understand selfishness or intrigue. Lu Xun devoted a lot of love and sincerity to such children.
Not only in novels, but also in Lu Xun's collection of essays "Weeds", images of innocent children appear. The little girl in "The Passenger" is "about ten years old, with purple hair, black eyes, and a black checkered gown on a white background":. With just a few strokes, the image of a smart little girl is sketched out. In that barren land, the girl was a bright spot. She is full of curiosity about everything and full of yearning for the future. "She sees the sky, the earth, and the wind every day." In this article, Lu Xun fiercely criticized the old man for living a rough life and deceiving himself and others; at the same time, he described the purple-haired girl with gentle brushwork and the language of love. The cemetery in the eyes of the old man, in the eyes of the girl, is "there are many wild lilies and wild roses there. I often go there to play and see them." The portrayal of this girl is a typical expression of Lu Xun's "children first" thought. He is like an old man with kind eyes, leaving all his softness to children.
He "does not want to infect the loneliness that he feels is painful to young people who are having good dreams just like me when I was young."
2. Miserable fate causes suffering
< p> In "How We Become Fathers Now", Lu Xun wrote: "The former has made more sacrifices than the former, and is unable to survive, but blames the latter for making his own sacrifices, destroying all abilities to develop itself." In In that turbulent era, most people were still persecuted by feudal superstition. Children were completely under the instructions of adults, and their thoughts were assimilated. Whether it is the tavern boy watching the opera in "Kong Yiji", the little grandson waving dried reed leaves and shouting "kill" in "The Trembling Line", or the children in "Diary of a Madman", aren't they exactly influenced by It is the "teachings" of the elders that change people from ignorance at birth to insensitivity later on. When I read about these children, I felt deeply sad. Where is Mr. Lu Xun? What kind of sadness did he have when he painted those tragic images of children? In "Reflections Twenty-Five", Lu Xun wrote: "When I was young, I didn't treat him as a human being, and when I grow up, I won't be able to be a human being." He loved children and new life, but he had to face the reality. Some children were assimilated. Furious and anguished, he could only watch the children on their path to self-destruction.In other works, we also see images of children who were persecuted to death. In "Medicine", Hua Xiaoshuan, who suffered from tuberculosis, after a long illness, "large grains of sweat rolled down his forehead, his jacket was stuck to his vest, and his two shoulder blades were raised high, forming a Chinese character "horoscope". "It is really heart-wrenching to read. It is conceivable that Lu Xun invested a lot of energy in shaping the image of Hua Xiaoshuan. Only with the same mood can we write such words that penetrate people's hearts. What also impressed me deeply was Boa in "Tomorrow". Bao'er was a filial and lovely child. In the memory of Sister-in-law Shan Si, "Bao'er sat next to him and ate fennel beans. He stared at his little black eyes and thought for a moment, then said, 'Mom! Dad sells wontons. When I get older, I will give you a lot of money from buying wontons. '" But even such a child cannot withstand the harsh environment. His life withered too quickly. "Sister-in-law Shan touched her hand lightly, and it stuck to her hand like glue. She hurriedly touched her chest and couldn't help but sob. Bao'er's breathing went from steady to nonexistent, and Sister-in-law Dan's voice also changed from sobbing. It turned into a howl."
No matter how much he endured, Lu Xun still had to create images like Bao'er and Hua Xiaoshuan. Their experiences were those of children in that era. Through them, Lu Xun's desire to transform the old society and create a new life is more strongly reflected. He has great love for new life, but he still wants to make their deaths very sad. In my opinion, the grief of death is for the growth of more new life. The cruelty of death reminds more people to cherish children.
Children's images are a part of Lu Xun's works that cannot be ignored, and tenderness is a part of Lu Xun's character that cannot be ignored. No matter who they are, they all love new life and yearn for beauty. Through this series of children's images, we can better feel the softness hidden in Lu Xun's heart.