Problem description:
All of them.
Analysis:
A new story book
New Stories was published on 1936 1 month. The book contains eight stories, as described in Selected Works and Preface, which are "the romance of myths, legends and historical facts". It took thirteen years from writing to writing. Due to the different writing time and the change of the writer's world outlook, the last five articles have made remarkable progress in life summary and ideological casting than the first three. When reviewing his novel creation, Lu Xun once explained his artistic generalization: "What I have seen and heard probably has some truth, but I will never use all these facts, just take one end of them, transform them, or expand them until I can almost fully express my meaning." (Note: "How can I start a novel?" As the preface explains, the New Story also deals with historical materials in the same way: "Just take a little reason and feel it casually." As for boldly introducing the details of modern life into historical stories and highlighting its significance of criticizing vulgarity, it is also the embodiment of Lu Xun's warrior character. All these constitute the consistent, accurate, original and distinctive style of the eight works.
The first article "mending the sky" was written in 1922, and was included in the first edition of "Scream" with the title "hills in the mountains are not hills". According to the myths of Nu Wa's "Being a Man in Loess" (see "Custom Pass" by Tai Lan and Ying Shao) and "Refining Five-color Stone to Make Up the Sky" (see "Huai Nan Zi"), the works describe the simple and honest image of the legendary human mother. Lu Xun said in the preface that his original intention was to "explain the origin of creation-people and literature" according to the psychoanalysis of Buddha Leuther. Leuther (Note: Freud was an Austrian psychopath. He believes that all spiritual phenomena are dominated by the "subconscious", and the content of the "subconscious" is the lust that is usually suppressed. This is a reactionary bourgeois schools of psychology who has a great influence on bourgeois literature, and obvious traces can be seen in Lu Xun's translation of The Symbol of Depression in Shirakawa Village. It is certainly wrong to use "sexual arousal" to explain the origin of human beings and literature (note: how do I start writing novels with a southern accent? ), but the main idea of mending the sky is not limited to this. The whole article is about the majestic weather and magnificent scenery of the primitive universe, like a strong oil painting. Nu Wa was full of creative joy when she was a man, and her hard work of mending the sky showed the magnificence of labor. In fact, the specific description of the work has broken through the "theory" of Buddha and Le Se, and showed a wide range of life such as labor. Lu Xun was writing and reading an article in which a Taoist attacked a new type of love poem. His strong antipathy forced him to turn his writing style from myth to reality, so Little Men in Ancient Costume appeared between Nu Wa's legs, which was small and funny, and the theme of the work was launched here, which had the anti-feudal significance of fighting against reality. However, the description is not as good as the first half, and the ending is relatively hasty. Introducing the details of real life into historical themes, Lu Xun claimed to be "the beginning of slick" (note: the preface of New Stories), but it can be said with certainty from the following seven articles that this is an attempt by the writer to show his "humorous talent" and create a new art form for social criticism.
Four years later, Lu Xun came to Xiamen from Beijing. He lived alone in a stone house, facing the sea, collected materials from ancient books and finished casting swords on the moon. Running to the Moon is about Hou Yi and Chang 'e (see Huai Nan Zi). Good archers shot nine suns, killing seals and snakes, all kinds of animals, and finally "shot all over the ground looking for teeth", so they had to run in the "nothing array" (note: "weeds, such warriors") and eat crows with Chang 'e every day to plunge into the river. Chang 'e couldn't stand such a life, and finally swallowed the elixir and soared in the sky alone. Feng Meng, a former disciple, appeared again at this time, deceiving the world and stealing fame, stabbing people with Master's "stolen fist" and trying to kill him. Lu Xun arranged a typical environment, sketched Yi's upright and upright character, and wrote a soldier's lonely mentality. When Casting Sword was published, it was originally named "Eyebrow Ruler", which was based on a story about a cadre casting sword and his son's revenge (see also Biography of Levi and Search for God). The work mainly focuses on the second half of this legend. Black people are the object of works, as if they were born to avenge others, and their personalities change from hot to cold. Everything you say and do is like a sword inserted in the back of the ruler between the eyebrows of the protagonist: the cold light is threatening. Ruler Mei entrusted him with the cause of revenge, together with his head and sword. Men in black infiltrated the palace disguised as jugglers. He tactfully cut off the king's head. In order to completely defeat the enemy, he finally cut off his head to thank the ruler of Mei for his trust, thus completing the heavy responsibility of revenge entrusted by him. From Feng Meng in "Running to the Moon" to the killing king and minister in "Casting Sword", people can still see the projection of real life in the writer's whipping. The work eulogizes the character of easy struggle with men in black, and embodies Lu Xun's thorough thought of advocating tenacity and trench warfare, and "the struggle between the old society and the old forces must be firm and lasting" (note: Opinions on the League of Left-wing Writers). When he didn't fully see the positive force to overthrow the old order from reality, Lu Xun chose historical figures and expressed his will to fight actively through them. Although he is somewhat lonely, he is different from the artistic image in the novels of the previous stage, and more integrated with the writer's own ideals in Yi and black people.
In 1930s, China's social life and social thoughts were deeply reflected in the last five chapters, with wider contents and more details of modern life, so they were more specific in the history of the times. The people of China experienced warlord wars and natural disasters, rural economy went bankrupt and urban production shrank. On this hot day, militaristic Japan suddenly invaded the northeast and advanced step by step. International imperialists used the League of Nations as a tool to conspire to rule China. Chiang Kai-shek adopted the policy of surrender abroad and attacked revolutionary base areas on a large scale at home. All social scum, old and new, floated up: some warlords raised money in the name of anti-Japanese, and some bureaucrats practiced favoritism and malpractice in the name of disaster relief. Hu Shi put forward an offensive strategy to the Japanese aggressors, demanding that they "conquer the heart of the Chinese nation in turn". A group of scholars, led by Jiang Han, jointly demanded that Beiping be designated as an undefended cultural city and "all military equipment" be removed. Thoughts in the field of literature and art are more chaotic, and escapist works are constantly appearing. Among them, there are poems that are artistic for the sake of art; A novel about love triangle; Lin Yutang advocated essays and advocated "self-centered, leisure as the style"; Shi Zhecun recommended "Zhuangzi" and "Selected Works" to young people on the pretext that "this is right and wrong, and that is right and wrong". Lu Xun expressed great indignation at these phenomena. At that time, essays attacking the shortcomings of the times were often banned, which reminded him of the art form adopted eight years ago and returned to the historical theme. In a letter written in 1935 1 month, he said, "I want to read ancient books in the near future and then make some books to plan the ancestral graves of those bad species." (Note: To Xiao Jun and Hong Xiao (1.935 1.4), No.717, Volume II of Lu Xun's Letters), this passage once again proves that the appearance of New Stories is actually out of reality and serves the current needs. Lu Xun analyzed historical materials and social phenomena with a distinct class view, which made his later articles more sharp and inflammatory. However, with the change of world outlook, he finally created an ordinary and tall positive figure in these works.
"Water Control" and "Non-attack" criticize the society, and at the same time, focus on writing two positive figures. The ancient history of China recorded Yu Xia's flood control and Mozi's self-destruction. According to legend, Yu Xia went out to control water conservancy on the fourth day after her marriage, and did not enter the house for three times in the past eight years (thirteen years). In the people's ideal, he is a leader who forgets personal interests and comes from the lower class. In Lu Xun's works, there is not only the appearance of a working farmer: "black face and yellow beard, slightly bent legs", a big man with rough hands and feet; It also summarizes the excellent qualities of farmers in China: hard-working, hardworking and simple, showing tenacity and strength from silence. The work uses various scenes-the tedious and boring discussion of scholars on the mountain of culture, the vigorous investigation of the bosses in the water conservancy bureau, and the height reflected by the humble soul and vulgar words and deeds around him, thus shaping this hero from the people. Mozi was an ancient intellectual who devoted himself to his life and died. Contrary to Confucianism, he represents the interests of ordinary people and advocates the spirit of self-sacrifice and self-practice. His theory is based on non-aggression, fraternity, chivalry and kindness. He is in rags, but he is brave and witty, full of selfless spirit. When the State of Chu was going to attack the State of Song, he went around the clock to dissuade the King of Chu and ordered Guan Qian 'ao to prepare for the battle: "Don't just wait for your words to succeed." The story revolves around Mozi's actions: crossing the Song Dynasty all the way into Chu, conquering the king of Chu with justice, and defeating the defeat with practical learning. Lu Xun praised these two positive images, as he said in an essay in 1934: "Since ancient times, there have been people who have worked hard for the people and sacrificed their lives for Buddhism ... Although it is the so-called" official history "of the imperial genealogy, it often cannot hide their glory. This is the backbone of China. " (Note: Have China people lost confidence? ) Yu and Mozi are described as "the backbone of China". At the same time, Lu Xun also wrote about Mozi's students, a group of black-faced people in charge of Qian Ao and Yu, who were ragged, motionless, silent and smiling, and unknown colleagues who dared to argue with Mr. Bird Head. These characters, with their specific actions, show a positive moral outlook. In contrast, they overwhelmed Gong Bo, Cao Gongzi, scholars on the mountain of culture, and big names in the water conservancy bureau, and aroused strong * * * voices in readers' hearts. Lu Xun's denial of the latter is his condemnation of ghosts and gods in real life; Affirming the former shows that the masses have become a positive force in his thought. Mr. Lu Xun once said in "Answer to the Question of the International Literature Society": "In creation, because I am not in the vortex center of the revolution, I can't go around for a long time, so I can only expose the shortcomings of the old society." But he was not limited to this point, so he found another way, fabricated new stories, and enthusiastically used historical figures to express his praise and praise to the people and their descendants.
The three articles, Picking Wei, Going through the Customs and Coming Back to Life, all criticized the negative image of social thought at that time by recreating historical figures. "Picking Wei" is about cutting Fu, and Uncle Boyi starved to death in shouyangshan because he didn't eat. Confucianism has always regarded Boyi Shu Qi as the standard rate of "fattening and raising height", and Han Yu wrote Ode to Boyi in the Tang Dynasty. At that time, in order to conquer China, Japanese militarism was trumpeting the "King Way". Although some intellectuals have insight into their plots, they escape from reality and are afraid of struggle. They just want to replace active resistance with "non-cooperation". Lu Xun chose this period of history, focusing on describing all the embarrassing experiences and panic mentality of Boyi and Qi Shu from the "nursing home" to shouyangshan, and castigating those behaviors in society, such as taking refuge in prostitution and spreading rumors. At the same time, from the "contradictory personality" of Boyi and Seventh Uncle, this negative sense of weakness and powerlessness shows their tragic fate without a way out. "Going through Customs" tells the story of Lao Zi's westward journey to Hanguguan. Laozi's philosophy is still soft, and Confucius's philosophy is still soft, but Confucius advances with softness and Laozi retreats with softness; Confucius is a practitioner who knows what he can't do, while Laozi advocates "doing nothing without doing anything". If you want to do everything, you have to do nothing. He is actually an empty talker who does nothing. "Going through the Customs" depicts the dialogue between Laozi and Confucius and the encounter on the way to the west through the rendering of life details, and criticizes Laozi's lonely mood of shrinking everywhere. Coming Back to Life is based on a fable in Zhuangzi Zhile, which evolved in the form of one-act drama. Zhuangzi advocated nihilism in The Theory of Everything, starting from "this is also a right and wrong, and there is also a right and wrong", and advocated the view of things and me, obliterating all the differences between life and death, ancient and modern, size and dignity. He reached a critical moment when his skull, which had been dead for 500 years, recovered its shape, gave birth to meat, came back to life, and pestered him to beg for clothes and parcels. He had to go against his previous claims. He kept trying to distinguish between life and death, between ancient and modern times, between size and dignity, and was bent on drawing a clear line between things and me and fighting for right and wrong. Lu Xun thoroughly declared the bankruptcy of "Homogeneous Matter Theory" with vivid and interesting dialogues, and confirmed that nihilism itself can only end in nothingness. After "September 18th", the thought of national defeatism was quite rampant, and the thoughts of passive resistance, escape from struggle, nihilism and so on emerged among intellectuals. Lu Xun used the form of art to mop up, to fight against mixed feelings, to focus on high places, and to strive for "the present." The form of these works is just an attempt for him. Their appearance shows that the relationship between art and politics should be correctly solved, so that literary works can play their artistic characteristics and better serve politics. In this respect, Lu Xun is an outstanding model among modern writers since the May 4th Movement.
As Lu Xun himself said in the preface, The New Stories are mostly sketches, especially the last five. For example, when writing Laozi, I use the same sentence repeatedly: "Laozi sits still, like a piece of wood." ("Going through Customs") It is written that Uncle Boyi was expelled for "arresting horses and remonstrating", and four soldiers "stood at attention respectfully" to them twice, then carried them away and pushed them away ("Picking Wei"). Other scenes, such as the dialogue between Mozi and Gongbo (not attacking) and the scene where the policeman grabbed Zhuangzi by the collar (up and down)-both characterization and plot narration-are different from shouting and hesitation, and basically use sketches and cartoons from time to time. Modern life, as the application of details, meets the requirements of comics. Lu Xun did not paint and hide these details in modern colors, but used them as an exaggerated means to make the characters' personalities and story lines clearly stand out through the shielded light beam. The more obvious some modern concepts are here, the less they will be confused with historical facts, so it is possible for readers to understand them from their internal meanings and regard them as very specific pronouns of a certain substance or spirit, thus gaining a deep impression. Some artistic techniques in New Stories are reminiscent of Nicola Nikolai Gogol's nose. Mr. Lu Xun once commented on Nose: "Strangely, although it talks about strange things, it is still realistic." (Note: Postscript behind nose translation, Lu Xun's Translation Collection, Volume 10, page 660) The New Story, which uses the details of modern life, does not "write the ancients to death" (Note: the preface to the new story), but uses extremely frugal pen and ink to tick off their images, which neither violates the authenticity of the story itself. The ideological achievements of the work are inseparable from its expression. New Stories has aroused widespread concern and debate because of its perfect unity of politics and art, novel style and special form. Like many great writers, Lu Xun made unremitting explorations in his creation all his life. According to the revolutionary requirements of the times and personal combat characteristics, he engaged in artistic creation in many ways, setting an example and setting standards in different periods and departments. The mature, flexible and diverse short story forms in Scream and Wandering, and the essays and prose poems in Morning Flowers and Weeds are pioneering symbols in the history of modern literature in China. New Stories rewrites some fairy tales and historical stories, gives full play to the fighting characteristics of sketches, innovates in genre, and shows the spirit of a great writer who is ahead in art.