"Because the pen of immortality has never been passed on to the immortal, so people pass on it by text, and people pass it on by people--who depends on whom to pass it on, and gradually it is not clear."
01
Diary of a Madman
Lu Xun | People's Literature Publishing House | 1973
"Diary of a Madman" is Lu Xun's first vernacular short story published in 1918, on the eve of the May Fourth Movement.
As a result of the half-way abandonment of the Xinhai Revolution, especially the intensification of imperialist aggression, various contradictions in society have become more complex and acute. With his sharp thoughts and sharp brushstrokes, Lu Xun showed a complete rebellion against the feudal system and its superstructure.
The Diary of a Madman is the first truly modern vernacular novel in the history of modern Chinese literature. What is amazing is that this work of pioneering significance in the history of modern Chinese novels has shown extremely mature characteristics, which has fascinated many later researchers, and the reason is that in addition to Lu Xun's profound literary attainments, we cannot but admire Mr. Yu's genius.
02
A Q is a canon
Lu Xun | Shanghai Bookstore Publishing House | 2003
A Q is a humble and small figure, but a huge name.
A Q is a slave in an "era of slavery and unobtainable", which is more tragic than the slave of the "era of stable slave". If you can't do it, you have to struggle. Of course, his struggles could not have been heroic as five levels, six generals, or climbing snowy mountains and crossing meadows, but as a small person, his life was tragic enough.
He not only presented the soul of an ordinary citizen in the late Qing Dynasty and the beginning of the people, the silent growth and dead soul that had been born and died in groups for thousands of years; but also through the outline of this soul, the chronic disease of the people's nature of the whole country in many ways exploded. Although Ah Q was shot, his ghost was not scattered, and he was always attached to Chinese's body. This figure leaves an unparalleled image immortal in the art garden.
03
Canopy set
Lu Xun | People's Literature Publishing House | 1973
When people in China meet people with signs that they will be uneasy, they always use two methods: to suppress him, or to hold him up. If you suppress it, you will use old habits and old morals, or rely on official power.
When you can't hold it down, you will hold it up, thinking that if you raise it high, you can be slightly harmless to yourself and feel at ease. The root of Chinese's self-begging and bitter food lies in holding, but the way of "seeking more blessings for oneself" lies in digging.
Although the winner is respectable, the competitor who is backward but still does not run to the finish line, and the spectator who sees such a competitor and does not smile solemnly, is the backbone of China's future.
04
Hot
Lu Xun | People's Literature Publishing House | 2006 Literary Publishing House | 1973
"Hot Wind" contains forty-one essays written by the author from 1918 to 1924, including Lu Xun's short commentaries in the "Record of Feelings" of the New Youth. Now it seems that, in addition to a few generalizations, some were issued for supporting beggars, meditating, and punching; some were issued for the so-called "preservation of the essence of the country"; some were issued for the old bureaucrats at that time who were proud of their experience; and some were issued for the satire of the Shanghai "Times". I remember that at that time, "New Youth" was being attacked on all sides, and Lu Xun was dealing with only a small part.
05
grave
Lu Xun | People's Literature Publishing House | 2006
The Grave contains twenty-three papers written by the author from 1907 to 1925.
Lu Xun said: These completely different asana things are gathered into a book, which is very unsonorthy. Because occasionally I saw a few so-called articles that were made nearly twenty years ago. It was a manuscript sent to Henan, because Mr. Editor had a strange temper, the longer the article, the longer it is, the more the fee will be.
If such a jerky thing were someone else's, I am afraid that I would inevitably persuade him to "cut off love", but I always wanted to keep it, and I did not "walk for fifty years and know forty-nine years", the older I became, the more progressive I became. The few poets mentioned in it, which no one has mentioned again, are also a small reason why I can't bear to abandon the old manuscript.
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