In the past ten years, there have been accusations of Lu Xun's "total denial of tradition", which can be seen mainly from two aspects. On the one hand, Lu Xun did take a comprehensive and thorough negative attitude towards tradition during the May Fourth Movement, that is to say, it was indeed a "total denial", so we say that these accusations are not groundless on the surface; On the other hand, these accusers did not look at Lu Xun historically, did not understand the "context" and real intention of Lu Xun when he denied tradition, and did not really know Lu Xun. They only saw Lu Xun's criticism of tradition, but did not see Lu Xun's "value revaluation" of tradition. On the other hand, it is also the cause of misunderstanding.

Lu Xun's thorough criticism of national inferiority, negative attitude towards negative things and even dross in traditional culture, incisive, original, profound and vivid views, and cold and sharp analysis are the true and most important intentions to alert Chinese people to numb their souls.

Lu Xun wrote in the postscript of Faust and the City (People's Literature Publishing House1973165438+1October P345): "Because the new class and its culture did not suddenly fall from the sky, it developed in the resistance to the old dominator and its culture, that is, in the opposition to the old. It can be seen from this passage that Lu Xun did not completely deny the traditional culture of old China. At this point, we can also see that in his article "Takeism" published on June 7, 1934/kloc-0, he emphasized that to correctly accept the inheritance of national traditional culture, we must first "take", "have" and "choose", that is, accept it critically. At the same time, we should also oppose the idea of accepting everything without discrimination. Although Lu Xun interpreted it as "reading more foreign books" and "reading less China books" in Gai Hua Collection, Lu Xun's extreme meanness was determined by the historical background and scene at that time.

19 18 Following the column "Feeling Notes" in New Youth, Lu Xun's articles presented a sharp, profound, vivid, incisive and unique style. Ding Yi once said in "Essays on Legislation": "Lu Xun's essays created an artistic form combining poetry with political theory. The brushwork is sharp and profound, short and pithy, sharp as a dagger and mellow as alcohol. On the one hand, it completed the combat mission, on the other hand, it also showed the deepest and broadest ideas. " The profundity embodied in Lu Xun's literature reflects his profound and unique perspective on the common phenomenon and typical cases of national inferiority, and highlights the crux of inferiority in that morbid society with humorous brushwork. The strength of his analysis comes from his rich life experience, extensive knowledge and keen insight, interwoven with old traditional ethics and feudal thoughts and feelings.

Therefore, Mao Zedong was:> Five of them recently praised Lu Xun, saying that he was an "unprecedented national hero" and "the direction of the new culture of the Chinese nation". Zhou Enlai once said in the article "The Second Anniversary of Lu Xun's Death": "The greatness of Mr. Lu Xun lies in his persistent and tenacious struggle for truth and justice, and in his foresight and belief in seeing a bright future from an extremely difficult situation."

What Lu Xun showed was not a wait-and-see, but a "four-look" based on the overall thinking of the necessary cultural changes and modernization process in the society at that time under a specific historical background. First, he stared at the old traditional culture, which was more negative, and stared at the new culture in the "takenism" exam of western foreign advanced culture; Second, pray to awaken the numb soul and pray for the vigilance of the Chinese people; Third, we must have foresight to "build a country" by "establishing people"; The fourth is the prospect, which is the prospect of the modernization process.