Wandering, Literature Publishing House, 20 13 Batty Apple: Lu Xun's was the most impressive. In my opinion, this work contains a depressed and desolate spirit that is entangled in pain and nothingness, but tries to struggle out of it. Lu Xun called this crystallization of thoughts and feelings "miserable glistening". As far as the content is concerned, the lonely individual probably describes the life experience hovering between life and death, light and darkness, hope and despair, reality and nothingness, from which Lu Xun sublimated his unique philosophy of "resisting despair". As far as artistic features are concerned, the symbolism skillfully used by Lu Xun can be seen everywhere in the book. For example, his "Dream" created a fantastic and frantic surreal world and described the conflict between his own consciousness and subconscious. Another example is the "Snow in the North" in Snow, which symbolizes the "rebel" who fights against the harsh environment alone. This makes the book obscure, but it highly concentrates Lu Xun's profound thoughts and feelings. Among other unread works, what I am most looking forward to reading is Lu Xun's essays. People usually think of the enlightenment of Lu Xun's early essays to the old moral system, but what interests me most is Lu Xun's essays published after 1927, that is, ten essays starting from Gang Ji. An important change in these "post-essays" is that Lu Xun has strengthened his understanding of the present and cultural phenomena, and his spearhead has turned from "old" to "new", because the superficial "new" of these phenomena can't cover up the connotation of "old"-that is, slavery to the weak. If the novel profoundly expresses Lu Xun's rebellious philosophy of life, then his later essays are the practice of this philosophy of life. Since then, he has been using essays as a weapon to fight against all kinds of enemies dressed in the beautiful cloak of "progress", trying to reveal that these people who call themselves "gun-free classes" are actually "holding soft knives."
Yilin Publishing House, 20 13: What impressed me most was the sword casting in Lu Xun's New Stories. The theme of Casting Sword is revenge and the will to revenge, which is a key theme in Lu Xun's later creation. According to my own understanding, this is Lu Xun's own grasp of an "inadequate" but "vital" "emotion" or "will" in the 20th century. Obviously, in Lu Xun's reconstruction of this story, the purpose and will of revenge are quite simple. Ruler Mei went to Wang Du for revenge. The purpose of the banquet was because he was already a self-pitying revenge, just as insignificant as "chopping a vegetable head" and "swallowing cold water" in traditional literature. Lu Xun, on the other hand, outlined the so-called "revenge mood" with an extremely desolate, sad and resolute style-the avenger's body and mind were also immersed in darkness and blood, and the meaning of self-pity and fear cowered around these sword holders like ghosts. However, it is accompanied by a firm will to kill and sacrifice, and through this round of action, it repeatedly breaks the order itself established through "revenge" or "violence" (the last two skeletons of "anti-thieves" are enshrined together with the skeletons of the king). At the beginning of the 20th century, the purpose and logic of revenge were gloomy and even insignificant. However, the exercise and generation of this mentality is very important for shaping the "new" national character. What I appreciate is this revelation of the "mentality" of revenge, which is not sacred, great or even trivial. It is really accompanied by the actions and emotions of all recipients, and it breeds hope-a gloomy hope that is not occupied by any clear goal. This is undoubtedly profound and accurate. So in my opinion: (1) Lu Xun finally went. (2) Lu Xun is not a writer who judges the national character. On the contrary, he profoundly explained the complicated situation in which the real creators of history lived, and called for more powerful strategies. As far as (1) is concerned, in his later works, Lu Xun used new literary theories (Trotsky and the original unique one) to study the history of literature, and re-examined his early nihilism and romanticism through new theories. As far as (2) is concerned, I pay special attention to The True Story of Ah Q-is the purpose of The True Story of Ah Q just to describe and so-called "national character"? It doesn't matter! This is a shallow devaluation and negation of Lu Xun! In fact, in Lu Xun's view, thousands of Ah Q in Qian Qian are victims living on the earth and in the future. However, they are trapped in various absurd ideologies and poor material living conditions. The production and reproduction of these conditions are realized through the landlord class and uncle Zhao who collude with the comprador. Finally, Ah Q was "forbidden" and was taken as a scapegoat. Xinhai still failed to inspire the flames and brilliance of those spirits living in the dark abyss. What Lu Xun called for through Ah Q was a new awakening of these "inferior people".
The True Story of Ah Q, Sanlian Bookstore, Little Panda in 2022: After 00, I first knew that Lu Xun was in a Chinese class. There are several essays by Lu Xun in junior high school textbooks. I remember reading one of them, "From a Hundred Herbs Garden to a Three-Pond Moon", but for me at that age, the childhood life written in this article is not far from my own experience, so I feel no waves after reading it, and even feel a little bored. To really know Lu Xun outside a textbook, we should start with reading essays. At that time, there was an anthology of Lu Xun's essays published in the 1980s. On a whim, I read it. I did read the so-called "general militancy and sexual desire", and I was sharp and confident; But beyond the edge, I feel a style that harmonizes seriousness and non-seriousness, just as the inscription in Tomb says: "There are many uncomfortable people in the world, but some people are dedicated to creating a comfortable world for themselves. This can't be so cheap, and it's not easy for them to know their original world because they put some hateful things in front of them. I don't know that children hate flies by plane; I know it clearly, but as long as I can fly, I have to fly "-it is serious because I have the object of attack and care for uncomfortable people; Moreover, from the metaphor of "the buzzing of flies", we can see a joking but not serious attitude. Lu Xun never thought his works were important and noble. His essays are just a kind of abuse, a kind of negative and negative voice in this new world, so they are not elegant and cannot be called "great literature". But I think of what Chen Danqing called Lu Xun's "interest". Chen Danqing's statement is quite interesting. He thinks that Lu Xun's essays are all games, which pay attention to the pleasure of writing, are sharp and are the pride of a writer. Therefore, Chen Danqing wants to clear Lu Xun's name: "He is sharp and kind, violent and sober, and will not push his views and attitudes to extremes, making it look like he has a high fever-an angry man is also a wise man, and his anger is beautiful. If it is not "great literature", it will become "beautiful literature". Chen Danqing's evaluation is more in line with my impression of reading Lu Xun's essays at that time. Excessive seriousness and anger can easily make people lose themselves. However, in laughter and scolding full of insight and introspection, it is easier for us to capture the light of wisdom. Perhaps this is also the reason why I still read Lu Xun's essays from time to time, from which I can get unexpected enlightenment.
Selected Essays of Lu Xun, Literature Publishing House, 1993: My first contact with Lu Xun's works should be in the Chinese textbooks of primary schools, which are about boys jumping into the earth. The descriptions of catching birds, stinging people and watermelon fields left a deep impression on me, which was very interesting and vivid. In primary school, Lu Xun was emphasized very much. In order to prepare for the exam, we should memorize Lu Xun's life completely: Lu Xun was originally named Zhou Shuren, a native of Shaoxing, Zhejiang ... Generally speaking, at first, we learned about Lu Xun and his works mainly through teachers' lectures and Chinese textbooks. In middle school, especially after the second day of junior high school, I will consciously look for Lu Xun's books, such as his short story Diary of a Madman, but generally speaking, I seldom read Lu Xun's works, on the one hand, because Lu Xun's works are really hard to attract people, and on the other hand, because I already know some labels attached to Lu Xun's works before reading them, such as obscure and so on, which makes me reluctant to read them. Therefore, among Lu Xun's works, Diary of a Madman impressed me the most. At first, I read a short vernacular novel by China with the mentality of reading. I was really shocked after reading it, because it was really eye-catching and unbelievable and unacceptable. Under the background of the times, I felt fear and anger at the situation at that time, and felt sympathy and regret for the people living in it. I still remember the last sentence, "Save the children …". I was deeply impressed by the feeling of helplessness, powerlessness and sadness.
Diary of a Madman, Literature Publishing House, 20 13, "Darkness in Summer: My impression of Lu Xun's works is" From Baicaoyuan to Santan Yinyue ",which is selected in the middle school Chinese textbook. I don't have much interest in the animals and plants in nature, but I remember "purple mulberry" and "raspberry" described in this article very clearly, and I always feel that I can see small and fresh fruits through words. The whole article is particularly interesting and enjoyable to read. In the future, I am very much looking forward to reading Scream and Wandering. Because of curiosity, why did Lu Xun "scream" and feel "lost"? These two works are short collections, so what is the relationship between these two titles and the content? In addition, I want to read these two collections because I am curious about the ideological environment of Lu Xun's era, and I want to know about China in the 20th century.
Shout, Guangxi Normal University Press, 20 13 Kelly: Among the many works I have read, I like Lu Xun's New Stories best. On the one hand, Lu Xun expressed his sexual thinking about China's ideological tradition, just as he always advocated "sweeping some national quintessence into the heap". On the other hand, he also looks for positive factors in the ideological tradition, which shows the complexity of this work. Lu Xun tried hard to break the barrier between "ancient" and "present" and to find the internal relationship between them, so as to compare the present with the ancient. In detail, in Running to the Moon, Hou Yi lost his mystery and became a mediocre and secular figure. He couldn't satisfy the desire of people around him to enjoy food and drink spicy food, so he lost his position and was betrayed by his disciples and relatives. Finally, after his wife the Goddess Chang'e flying to the moon died, Hou Yi decided to follow her because she couldn't stand the hardships of eating river crows. This hero, described by the traditional official history as "the backbone of China", lived a "boring and trivial" life in Lu Xun's works after a glorious battle, and fell into an extremely embarrassing and helpless situation. On the other hand, "Tao Qian" in New Stories also presents a completely different look, that is, dazzling and secular, but it also reflects his "enthusiasm", so he also has "advantages and disadvantages of being alive"-this is exactly what Lu Xun agrees and appreciates. It can be seen that Lu Xun's writing style of "mixing ancient and modern" breaks the boundaries of time and space, and a large number of modern languages and details make "Zhuang Su" and "absurdity" coexist in two colors and tones, making the characters and plots full. Furthermore, in my eyes, Lu Xun has deep doubts about the cause of modern enlightenment. On the one hand, although I, as the narrator in Blessing, am the pioneer of ethical codes, I am also responsible for the death of Sister Xianglin, so the boundary between the enlightened and the common people is no longer clear, and the former is not outside the structure elsewhere. On the other hand, Ah Q's much criticized method of spiritual victory is produced by his structure. Therefore, Casting Sword is not only Lu Xun's praise for the revenge action of the pioneer and the victim in the structure, but also his deep doubt about the ineffectiveness of revenge. But I believe that Lu Xun did not admit the necessity of hope or despair in the end. He believes that "despair is futile, just like hope". As the subject of revenge-whether it is the pioneer of the Enlightenment or Ah Q-what we have to do is to abandon hope and despair at the same time and bravely bear everything that will happen. Therefore, when Das Kapital and Claiming that it ended all ties-based civilizations, Lu Xun should regard the 20th century as an expedition, as the main body of the expedition, and expand the plural "I" into the singular "we" through fighting. In the end, the 20th century will try to transcend the pure negative power of capital in order to find a aimless friendship and an order without ties.
New Stories, Literature Publishing House, Gao Xiao 2004: I first came into contact with Lu Xun's works in the fifth and sixth grade of primary school. At that time, my father bought another complete works of Lu Xun as a birthday present for me. At that time, I just felt a little obscure and incomprehensible. Later, I became a student of Chinese Department, and often dealt with Lu Xun's works. After the teacher's explanation and my own reading, I was most impressed by the medicine in Lu Xun's Scream. In my opinion, Lu Xun's description of characters' language and details is vivid and meticulous. For example, the discussion about Xia in the teahouse not only shows the numbness of spectators, but also depicts the image of Yu Xia from the side. At the same time, the metaphors behind many images in the text are also intriguing, which makes the meaning of the text more hierarchical. For example, the words "Hua" and "Xia" and "Yu Xia" in "Mr. and Mrs. Hua Laoshuan" together are China, and "medicine" refers not only to human blood steamed bread, but also to the medicine for treating China. Finally, the overall significance is profound and thought-provoking. The ignorance of Hua Laoshuan's family in treating diseases through human blood steamed bread and the fact that they don't know who put the flowers in Xia's grave all suggest that China still has a future and hope. Mian: My first contact with Lu Xun was naturally in a Chinese textbook. I can't remember whether it was elementary school or junior high school. However, at that time, Lu Xun's "Flowers in the Morning and Flowers in the Evening" should be on the list of extracurricular reading materials in the new curriculum standard for primary schools, and these books were better for schools. It is through these books that I have a vague understanding of Lu Xun. After entering junior high school, due to the growth of age and the improvement of educational requirements, Lu Xun's works can be interpreted in class. At that time, I had the idea that "Lu Xun is a very powerful writer and his works are worth reading", so I took the initiative to buy some essays or classic collections compiled by later generations. The one that impressed me the most was Regret for the Past. At that time, it felt like a love story, with some sadness and positive values. This experience is not surprising. But in retrospect, Regret for the Past is not a sad story, but a bitter record of self-mockery, in which more and more things can be read. But generally speaking, the most detailed reading is Diary of a Madman, which is thought-provoking. A few words in it are often borrowed to think about many current problems. If we open the time span, we can still find Lu Xun's changes from his early classical Chinese essays to his later essays. For example, the more you get to the back, the less you focus on empty talk about spiritual concepts, and the more you directly talk about practical problems. The most beneficial thing is that his pungent brushwork can often put hidden irrationality in front of your eyes, so that you have to think and reflect, and you can't prevaricate. Even if all kinds of works are combined now, all kinds of critical theories emerge one after another, and reading a little Lu Xun is better than reading ten miscellaneous brands. This is determined by his realistic expression of history and sharp personal brushwork.
Flowers in the Morning Pick Up in the Evening, Yilin Publishing House, Tiepijuan, 2022: Although I studied Chinese, I didn't learn Lu Xun well, so I can't say that I have any profound opinions. So I will talk about Lu Xun as a writer from my own reading experience. The feeling of reading Lu Xun is different at different stages. When I was in middle school, I learned the nostalgic emotional gesture from "Morning Flowers and Evening Picks". When I grew up, I admired the eloquent and sober style in Lu Xun's essays. Now, I especially like wandering. In private, the writer Lu Xun's background lies in wandering: helpless pain and inescapable despair. Take the blessing as an example. Everyone may be familiar with it. Not long ago, due to some accidental reasons, I just reread Blessing. After reading it, I thought to myself: Lu Xun has a keen perception of spiritual suffering, and he can convey this perception to readers in gloomy and introspective language, thus revealing our helplessness in the face of other people's suffering (this helplessness reflects our own possible suffering). "I'm sitting alone under the dim vegetable oil lamp, thinking about this bored Xianglinsao, an old plaything abandoned by people and tired of watching it in the mustard pile, where her skeleton was previously revealed. From the point of view of people who lead an interesting life, I'm afraid I'm surprised why she still exists, but now she's finally been cleaned up by impermanence "-I'm afraid this is something that Lu Xun can't say, and we can also see and describe it from it. Lu Xun is obviously sympathetic to Xianglinsao, and the fate of "being bored" is a curse and a terrible signal leaked from cracks and abyss. This made him afraid. The pain of others is an eternal burden in Lu Xun's heart, which aggravates his own pain; The spirit of others' pain, despair and hopelessness in turn constructs his own spirit. Although the interpretation of Lu Xun is more diverse now, saying that he is funny and laughing and cursing can be realized, but I think there must be more hidden behind these. Now every time I mention Lu Xun, I always unconsciously think of a short paragraph at the end of Lonely Man: "I am walking at a brisk pace, as if to rush out of something heavy, but I can't." Something struggled in the ear for a long time, and finally struggled out, vaguely like a long howl, like a wounded wolf, howling in the wilderness in the middle of the night, mixed with anger and sadness. " This howl belongs not only to Wei, but also to "I" and Lu Xun himself. I don't believe that Lu Xun really got up at last. Maybe he stayed in that "heavy thing"? In Wandering, Lu Xun is good at writing the tragedy of "coldness", but only with the true spirit of "hotness" can he perceive the "coldness" of the outside world and feel the pain constantly. The so-called "philosophy of survival against despair" in academic circles probably means the same thing. Zou shan, editor of this issue
The above is written by birthdates, which is about the sharing of Lu Xun's works. I read the complete writing of birthdates, hoping to help everyone!