Only a few days after the solar calendar year, the Chinese-French Society of Literature and History asked me to give a lecture. I was not good at talking, and I was particularly afraid of lectures; in addition to the examination papers, I did not feel good energy. Moreover, although it was said that the New Year had passed, Mr. Lu Xun said it well: after all, the end of the old calendar was the most like the end of the year, and there were quite a few trivial things in the apartment, so at that time, he said that the old year would be said again. In the blink of an eye, the old calendar year has come and gone, and there is no preparation at all. When I went to China and France last Wednesday, the Society of Literature and History came again to urge, but it was not good to talk about the festival of lights in the old calendar; so it was set today.
But then we're going to get to the point. Well, let's talk about Mr. Lu Xun's novel. I thought that for more than twenty years, I often read "Scream" and "Imitation Wandering", and then it seemed that I did not have to prepare, nor did I have to worry about having nothing to say. However, after I decided it, I came back and thought about it, and I felt that this topic was too big, and my knowledge was not enough, that is, I was not worthy to talk about Mr. Lu Xun's novel. However, since the drama code is fixed, it is not good to temporarily change the play, and it is not good to return to the play, so I had to sing it once.
I thought: I have nothing "new" or "real" to say, but after hearing this, you must be disappointed. "Drama, out is good, but it is a pity that it is sung by children." Words of a drama teacher.
Lu Xun took a photo after returning from Japan,
Photographed in Hangzhou in 1909
Lu Xun, in terms of scholarship and literature and art, is at the same time a thinker, a writer, an artist, a scholar, a historian, a poet, and a novelist, a collection of many "families" in one, which is simply indescribable, perhaps he is erudite and has no fame, and he is sacred to the big. In this regard, it can be said that it is unprecedented in China, and if our descendants do not work hard, we must become the last. This, Mr. Lu Xun does not want it to be so. I personally don't want it to be like this, but I'm afraid it is always the case. Now that I have to talk to you about Lu Sin, as a Novelist, I want to talk to you.
In order to save your own energy, the so-called laziness, and to save your time, I will exclude "Chaohua Xishi" and "New Story Compilation", and "Scream" and "Imitation Wandering" alone. Mr. Lu Xun became a novelist, and these two books were enough and more than enough. In both books, The Gentleman shows that in addition to becoming a novelist thinker, he is also a poet.
I want to talk about the latter point in particular. And this, xu is the reason why Mr. Xu's style is particularly mature, which is particularly evident in "Imitation". In "The Lonely Man" and "Wounded Death", which express Mr. Life Philosophy, and in "On the Restaurant" and "Blessing", which show a sad atmosphere everywhere, the poetry is strong and needless to say. Even in "Soap", "Brothers" and other so-called satirical novels, there are still too many to mention. You know: Satire is the hardest thing to write at the bottom of a poem.
The subconscious weakness of Mr. Siming, the protagonist of "Soap", was detected by Mrs. Siming, and was shouted out by her daughter Ming, "Cluck, don't face..." After that, "He paced back and forth, and when he was not careful, the hen and the chicken cried out again... After many times, the lamp of the hall was moved to the bedroom. He saw a place of moonlight, as if it were covered with a seamless white veil, and the jade-plated moon was now among the white clouds, and he could not see a lack of it. He was very sad, and seemed to be like a filial daughter, becoming a masterless people, lonely and miserable. Not to mention how poetic the sound of the chicken and the moon, and the loneliness and bitterness of the four mings, just look at the simple sentence "The lamp of the hall moved to the bedroom", that quiet, that slender, the old poets after the Tang and Song Dynasties have exhausted the level of ping, the same, and can not be described.
In "Brothers", after the doctor diagnosed that his brother had a rash and not typhoid fever, peijun's heart was calm, so "the courtyard was full of moonlight, as white as silver; the neighbors 'in the White Emperor City' were already sleeping, and everything was very quiet." Only the alarm clock on the table was beating happily and evenly; although the breath of the returnees was heard, it was very harmonious. "Reconcile? yes. Mr. Lu Xun clearly wrote it. But the moon is as silver as silver, and the alarm clock is ringing, and the harmony has long been fully expressed. If poetry, no matter what kind of poetry, its highest state is always reconciled, isn't this description of sir also the best poem?
Another example is the writing in "Old Master Gao" about playing sparrow cards, "There is no sound, only the sound of the cards played on the rosewood table resounds clearly in the silence of the first night." "Although playing cards is a national skill, I myself was quite happy at that time, but it was always a thing that I was not proud of, and this depiction of Mr. Li was really a horse of the salt car, and I had to increase the price of Bole." However, the above is also the realm of old poetry, that is, the spirit of the tradition of Chinese poetry that I spoke of in the lecture hall.
It is poetry, and not the realm of old poetry, that is, the spirit that breaks the tradition of Chinese poetry, is the protagonist in "Happy Family", after the ideal returns to reality, the fantasy returns to disillusionment, it is the river that first splits firewood to the bed, and then appears next to the bookshelf behind it with the pile of cabbage, that is, five-five-twenty-five, nine-nine-eighty-one, the protagonist rubs the manuscript paper a few times, unfolds it to wipe away the child's tears and snot, he wants to fix the god, turn his head, close his eyes, After taking a breath of distraction, he sat calmly—quietly, quietly, and then the poem came: a plaque of black flowers, orange and yellow hearts, floated from the left corner of the left eye to the right, and disappeared; then a bright green flower, a dark green heart; then a six-planted pile of cabbage, neatly folded into a large A-word toward him. It is symbolic, mysterious, and realistic poetry. In short, it is no longer the realm of the old poetry, and it is indeed poetry, and there is nothing suspicious about it.
Go to Guanghua University to give a lecture,
Taken in Shanghai on November 16, 1927
Also, the list goes on. I thought Chinese poets couldn't and wouldn't or didn't want to write about summer. I am afraid that this is because of the neurasthenia, and I cannot bear the threat and oppression, and I will not dwell on it at this moment. However, Mr. Lu Xun wrote about summer in his "Show to the Public", and it was the summer of a desert-like big city: "Although the sun of the flames has not yet been directly illuminated, the sand on the road seems to have flickered and shined; the heat is full and in the air, and the power of midsummer is exerted everywhere... However, there are exceptions. In the distance, there was the faint sound of two copper cups colliding, reminiscent of sour plum soup, and vaguely felt cold, but the lazy monotonous metal tone of the intercropping made the silence even more profound. But the description is not yet the master's last word. Below is also: "Hot bun grin!" Just out of the drawer..." The fat eleven- and twelve-year-old child, with his eyes thin, tilted his mouth and shouted in front of the shop on the side of the road. The sound was already hoarse, and there was some drowsiness, such as hypnotizing the long days of summer. On the dilapidated table next to him, there were twenty or thirty steamed buns, sitting coldly without any heat. This is summer, this is the summer in Beiping City, which is the symbol of the whole Peiping; (the novel was written in 1925, even if he is the symbol of Beiping in the fourteenth year of the Republic of China) and this is not only the description of the novel, but the performance of the poem. The child should be fat, and the fat child should have thin eyes and crooked mouth. It's summer. Alas, there are twenty or thirty steamed buns sitting coldly in the summer... This is...... What is it? symbol! A symbol of poetry!
Just take it with you. In Mr. Li's novel, the wind of poetry blows everywhere, and the breath of poetry is permeated, which is really the so-called "Pi Qiongshi and Yuzao, if there is a tree in the Central Plains" in Lu Ji's "WenFu". [The original manuscript brow on the book cloud: "Muke Zhai In jiaozan the so-called descending dragon wood before and after Muke Mountain, with a small stick to pull and pull, everywhere. The princes do not have to listen to my nonsense, it is best to "return and ask for it", then below is "there is a surplus of teachers". However, I can't take it with me yet. What Mr. Lu Xun has is a poetic heart: love cannot be loved, so hate; warm is not allowed, so cold; life is not allowed, so lonely; death is not allowed, so it is still "shouting". That is, in "Journey to the West", Sun Dasheng said, "I can't cry, so I laugh too."
Forget who criticizes what kind of writer's words, at this moment lazy to look up books - in fact, I am lazy to look up books all the time. It is a sentence that means this: "Embrace a heart that is all-loving and unlovable." Mr. Lu Xun is exactly like this.
Even if we take a step back, it is still the so-called "only love it so much, so it hates it deeply." "A Q Zheng Biography" is Mr. A's immortal work, and it is said that mr. A's works that have shaken the world are not indispensable, so there are Japanese translations, English translations, Russian and French translations. I often say that every Chinese or all mankind should stand in front of the evil mirror of "Ah Q" and look at their own faces, spirits, thoughts, and souls, to see if there is the breath and composition of Ah Q, and then if they have it, they will attack it, and if they have it, they will encourage it, and then Chinese or that the people of the whole world will make progress, so as not to perish.
I said that Mr. Lu Xun was such a home, but I forgot to say that Mr. Lu Xun was a medical scientist. Yes, sir is a medical scientist, he diagnosed and understood the symptoms of Chinese patient anointing, and "A Q Zheng Biography" is a great pulse case. What a disgusting and cursed this sick man who was secretive and self-destructive! Ah Q in "A Q" is a typical character; and all the characters in the full canon are all Ah Q style. Xiao D, Wang Hu, Zhao Taiye, Zhao Baiyan, Zhao Sichen, Zou Qijie, Wu Ma, hotel owner... None of them. It is really a gathering into one, concentrated in A Q; scattered into innumerable, distributed into any character in the whole biography. But of course, the target is Ah Q. However, Mr. Wrote this satire, no, it should be said that it is a curse novel, and he can't help but express his poetic heart.
Obviously, there is the fifth chapter of the "A Q Canon": "Livelihood Problems". Ah Q walked out of weizhuang in order to ask for food. "Outside the village, there are many paddy fields, full of the tender green of the new autumn, with a few circular black spots of activity, which are the farmers who cultivate the fields." Then he walked outside the walls of the ashram. "The pink wall protrudes in the new green." Ah Q finally jumped inside the wall: "It's really lush inside", "Against the western wall is a bamboo bush; many bamboo shoots below... There are also rapeseeds that have already passed the knot, mustard greens will bloom, and cabbage is also very old. This is poetry, and it is plain poetry, so-called "Naked Poetry" in English. It is the poet who generally flattens the servants, talks about style, looks at flowers and drinks, and sings the wind and the moon, and cannot, or has never thought about it at all, or cannot write it.
But is it also worth wasting Mr. A's poetry in order to write Ah Q? Does Ah Q also deserve to be placed in such a beautiful environment of poetry? As explained above: Sir is deeply disgusted and bitter towards Ah Q. However, the gentleman placed such a figure in such a realm. Is this Mr. Self-Cherishing's Pen and Ink? Not necessarily, and absolutely not. It is not necessary to say that Mr. Fang's poetry has a poetic heart. Holding such a poetic heart, with such poetic talent, Mr. Li is everywhere and always exudes a poetic style. So writing A Q also uses a poetry pen, and A Q is also placed in the beautiful environment of the poem.
Chekhov has an essay "Lovely Man", which is intended to satirize and show the weaknesses of women. However, the heroine in the article is written so poetically and warmly, not only is she weak and pitiful, but she is simply great and lovely and respectable. Tolstoy's criticism says that sometimes we try to lift someone up and knock him down; Chekhov, who wants to knock the heroine down in that passage, lifts her up instead. O great Tolstoy! It was really a reward with Chekhov in addition to the yellow of mu mu li. But that's not to say. What I want to draw everyone's attention to is that Mr. Lu Xun wanted to knock that Ah Q down and put him to death, so that he could not turn over, but in this paragraph, although Mr. Lu Xun did not fully lift Ah Q up, at least he also put him in a lovely place.
A great artist must be a great poet and a great man of letters. And a great poet and a great scholar must also be a great artist. Therefore, they all pay special attention to the integrity of their works—I say complete, to avoid the general and abusive fossilized word "beauty." Repeatedly, their genius, state of mind, strength, and technology are all surplus. The works of Natsume Soseki in Japan are known as the literature of Yuyu. That's another thing entirely, and has nothing to do with me. Make this statement in advance to prevent misunderstanding. My so-called surplus, in other words, is more than enough, and when I create, I will not be exhausted and barely finished. In order to notice the integrity and abundance of the work, there are often some superfluous additions to the necessary parts. And this addition makes the work more artistic and poetic.
Woodcut print "Lu Xun"
Author / Jiang Feng
It is said that wu Daozi of the Tang Dynasty painted "Hell in Disguise" is a stroke of God. If there really is hell, where there are many people— it should be said that souls — are subjected to the punishment of the mountain of swords, the tree of swords, the hammering, the grinding, I think that if we have a little heart, we cannot stand by and appreciate it under any circumstances. But after the big artist paints it, no matter how realistic, no matter how thrilling, we can enjoy it as a work of art.
The truth of art and the truth of facts cannot be reconciled here. The reasons for this are certainly not simple. But I think the "superfluous addition" must be related. Another example is "Water Margin" in the old novel, in which the characters are robbers, and the deeds are killing people and setting fires, and I often notice unnecessary additions to the necessary parts.
For example, in the scene of "Blood Splashed Mandarin Duck Building", Wu Song held a knife in his right hand and opened five fingers with his left hand to touch the upper floor, but he saw "three or five lamps and candles are brilliant, and one or two moonlights shoot people". This time, Song Jiang led the brothers across the river to kill Huang Wenbing's family, and when he was on the boat, the writer wrote: "At this time, it is the weather in July, the night is cool and the wind is quiet, the moon is clear, the water shadow is mountain light, and the upper and lower blues are blue." "I think this is the same as Mr. Lu Xun's writing of Ah Q asking for food, and placing him in the environment of the poem is a nostril out of breath. However, few novelists today can pay attention to this.
Mr. Lu Xun has the emblem of the Gorky of the East. In Gorky's works, I also found a lot of poetic descriptions. Like "Autumn Night" writing about rain; "Marwa and Kelcah" writing about the sea; "The Orof couple" writing about the countryside, "The Birth of a Man" writing about mountains, writing about the steppe. I thought gorky's writing about the beauty of nature was one of the few masters of modern times. The reason for this is that the writing of nature by other poets and literati is always somewhat to get an impression from the book and then confirm it in reality; so when they create, they often inevitably fall into the trap of their predecessors. The better ones can also participate in the author's own associations, imaginations, and fantasies. Below the second and third rates, it will only become a shoddy reproduction and imitation. Gorky, on the other hand, lived entirely in nature during the wandering season of his youth, and his body and mind were directly rather than indirectly related to nature. Therefore, his depictions of nature are mostly vivid, fresh, and alive. At this point, I always wonder that our Mr. Lu Xun, the Gorky of the East, is inferior to him.
Both Gorky and Lu Xun read through ten thousand books. But can I say that? Gorky lived first, then read. The Gorky of the East read first and lived later. If you think I am arbitrary, I can change to Lu Xun because reading and life go hand in hand. At least I can say that Gorky's life outside the study hall is much more than that of Mr. Lu Xun.
In February 1933, Lu Xun (left), Cai Yuanpei (right) and George Bernard Shaw took a group photo in Shanghai
Lu Xun did struggle with poverty when he was young, and this was certainly not a life within the study. This can be seen in Chaohua Xishishi and other sporadic autobiographical articles. Sir has been oppressed and bound; Gorky has also suffered, and surpassed, Sir's. However, however, I have used too much today, but I do not have to turn it around, then, again - but Gorky escaped, nature, after escaping, the oppression and bondage of hunger and cold will of course increase and unabated, but the spiritual cinnamon orange will be completely removed by nature - this is one of the reasons why all poets and literati love nature; if not, then this poet and literati will not understand nature, appreciate nature, and assimilate into nature. Not to mention the description and expression of the poems of nature. Mr. Lu Xun has never escaped. Is this sir's good fortune, unfortunate? In short, here, Sir and Gorky are very different. Luck and misfortune are not the subjects I want to talk about at this moment.
Sir is too much to love life. Loving life is the common point of the great poets and literati of ancient and modern China and abroad. Mr. loves life, is to grasp life and not let go, to cut not to lie. He had said that he hated the life of Chinese immortals who drank beer soda-like Qiongpao jade liquid and ate five-spiced beef jerky like dragon liver and phoenix marrow. Escape? He didn't want to. It's really the nature of the stem, old and spicy. For this, the gentleman is step by step, becomes a soldier, pierces the hard village, fights to the death, and dies. Therefore, compared with Gorky, the vastness of the weather and the nature of its expression are incomparable; but the strength of the will is greater than that of Gorky.
Heroes create the times, and the times also make heroes. The current situation in China has made Mr. So much of a hero. In the case of the poetic beauty of the depiction of nature, Gorky is a little freer; and the gentleman is very cold and rigorous. Nor is it for no reason (accidental), and it has to be (inevitable). I had never read The Complete Works of Gorky, and therefore I did not dare to criticize his whole style. But as far as my fragmentary reading of his novels is concerned, I always feel that the work sometimes seems to be a meadow; or to be great, like a natural forest, as stated in "Water Margin", a fierce forest. Mr. Lu Xun's good works simply make people feel like a sorted garden.
Like the "Wounded Death" in "Imitation Wandering", the structure is rigorous, the words are tempered, even in the most subtle places, the author has not let it go lightly; so the reader feels that it is impeccable, even in the short works of the old poetry. I thought, of course, that Gorky could not write such a novel. When I say this, I neither exalt Lu Xun's identity nor demean Gorky's voice: I have taken a purely objective attitude to explain this fact, this phenomenon.
But the two Gorkies— Eastern and Western— may be very different in their motives, in their methods, in their style, and in their works, and the fact that there is poetry in their works is common. That is, in both of their works, there are "superfluous additions" to the "necessary parts". And the "superfluous additions" in their works, though so poetic and artistic, I always feel that the "superfluous" is almost excessive, strictly speaking, almost unnecessary. This needs to be well explained.
I mean: the novel is the expression of life, no matter what school, legend, realism, nature, new legend, new realism, its premise is always to express life. In it, the description and performance of nature's poetry, although sometimes can increase the beauty of the article, in helping to express the emotions, thoughts, and even behaviors of the characters in the novel, even if not completely useless, there is always a suspicion of being partial to the quiet aspect.
Life, on the other hand, is completely moving. Therefore, the description and performance of na jing inevitably reduce the motivation of the characters in the novel and dilute the color of life in the novel. The two verses of "Water Margin" cited earlier make this mistake; for example, Maupassant's "Notre Loeur", although successful in psychoanalysis, is too speculative and is only a novel that does not become a novel. Incidental statement: I am not saying that thought should not be expressed in fiction; but that thought must be expressed in deeds, in action.
The fifth chapter of Mr. Lu Xun's "The True Biography of Ah Q" is a livelihood problem, and after Writing Ah Q walked out of Weizhuang because of his food, the way those poems were written, according to my foolish opinion, almost became excessive, almost unnecessary. The Analects say: "Quality wins over literature and wilderness, and literature wins over quality in history." "History is not history is still secondary, and Mr. Lu Xun is inevitably suspected of "winning the quality of literature" here. Gorky's novels also have this disease. I'm sorry I won't give an example. At present, many novelists in our country are "better than the text and the wild."
Photographed by Lu Xun during the "fifty-year anniversary",
Photographed in Shanghai on September 17, 1930
As I spoke, I punched myself in the mouth, and it was two.
First, I said that Mr. Lu Xun loves life, but since he loves life, why is there so much superfluous about nature, and should we say excessive or unnecessary descriptions? Both of these phenomena, in Mr. Mister's novel, are unconcealable facts. At the same time, it is also a contradiction of sir. That is to say, if you love life, you should not have so many excess and unnecessary depictions of nature; but there are. I thought that this was because the habits of the old literati of the gentleman had not been washed away.
He was Chinese, and he had read many works of old poets, and he was so rich in poetry that when he wrote novels, he unconsciously and naturally revealed them. Second, I said that the novel is the expression of life, and the description and performance of the poem of nature hinders the development of the story of the novel and the motivation of the characters. In this regard, I have more to say.
In the novel, the description and representation of the poem is necessary, but it is not about nature. It is to poeticize that life and motivation together, and to describe and express it in poetry, without borrowing the help and foil of nature. "Water Margin" was cited above, but those two paragraphs cannot be counted as the highest realm of artistic expression of "Water Margin". After Lu Zhishen killed Zhen Kansai with three fists, he "returned to the lower place, hurriedly rolled up some clothes and coiled fine soft silver two, but the old clothes were discarded, and he lifted a short stick with eyebrows, ran out of the south gate, and left with a cigarette." Lin Chong, after listening to Li Xiao'er in Cangzhou say that Gao Taiwei had sent Glazed Yuhou to come to him unfavorably, bought "to take the wrist-breaking knife with him, in the front streets and back alleys, and to look for it in the field... The next day dawned... With a knife, I went to the outside of gun city, in the small streets and alleys, and searched for three days." After Song Gongming learned that He Tao had come to Yancheng to arrest The King of Chao, he first stabilized He Tao, so he went to "saddle the horse in the groove, led it out of the back door, put on the whip, jumped on the horse in a hurry, and slowly left the county government; out of the east gate, hit two whips, and the wangdongxi village of the horse plucking the horn was about to fall; Half an hour early to Huang Gai Zhuang to put on the knife. The above three paragraphs and such writings are the authors of "Water Margin".
That is to say: this is the description and expression of the poem in the novel; because he completely poeticizes the motivation of the characters, and does not borrow the help and foil of nature at all.
The above article also cited Mr. Lu Xun's "Show the Public", saying that he wrote well in the summer; but the first half of the paragraph is not much to know - to use a term in "Water Margin", in the second half, "Fat child, thin eyes, crooked neck, cracked mouth, shouting hot buns..." That is Mr. Wang's unique job. Then there are the Juan Sheng and Zi Jun in "Wounded Death", before and after struggling with life to part from life and death, it is also a poetry pen. The reasons are the same as above, and will not be explained.
However, however, Mr. Lu Xun does not write about nature alone, but also writes about life, and he is also suspected of being partial to quietness. On this point alone, Mr. Mister's writing is inferior to that of "Water Margin". I said: That's all. But what's the solution? Sir's "Scream" and "Imitation Of Wandering" were started in 1918, and the pen was broken in 1925--that was between the seventh and fourteenth years of the Republic of China, when all over China was filled with twilight, death and corpse gas, although the "May Fourth" movement had already occurred.
In the preface to "The Scream", he clearly wrote: "This loneliness grows day by day, like a great poisonous snake, and it entangles my soul." "The preface was written in 1922, the eleventh year of the Republic of China. Although the gentleman was indignant, he saw himself again: "I am by no means a hero who gathers with a ring of arms and echoes." The twilight, death and corpse qi around him, and the loneliness and sorrow of his own heart, forced Mr. To exude a quiet atmosphere in his creation. Can we still have any complaints and complaints about my husband?
On November 27, 1932, Lu Xun gave a speech at Beijing Normal University
I try to say that the world will never treat people as "people", and if he does not regard you as a god, he will see you as a thing of unknown name, or not a thing at all. If you don't think you can do anything, you should be able to do anything. The villain asks for preparation, the words of the Analects. It is true that Lu Xun is such a family, a genius, a great writer, but in the final analysis, Mr. Lu Xun is also a human being, and he is Chinese.
There is a quiet atmosphere in the work, and we are still responsible for the gentleman. However, I will use it again, however, in the spirit of Mr. Gentleman's self-respect and self-respecting and humble responsibility, Mr. Gentleman does not need to be taken care of by us. At least, sir is self-aware, and he himself is aware of it. He has translated Takero Arima's "With the Young" and included it in the "Modern Japanese Novel Collection". Sir's criticism of that article is not clear at the moment, or lazy to check the book. But to the effect that I roughly remembered: it was said that the one on Yukishima was indeed good; in the end there was always some sadness and sadness; sir also hoped that the future writers would move forward and be happy, that is, there would be no sadness and sadness. Is this not clearly the gentleman's "master's own way"? The deceased must not resign his responsibility, which is another meaningful idiom. You all know.
I said it so messily, but when I said it, I forced a conclusion after all. There must be more poetry in a novel; isn't it just a novel? Life, life, and everything must be poetic, and human life can become richer and more meaningful. Now the book is back to the truth, or the novel. The composition of the poems in the novel is also divided into three, six, nine, and so on. There is no reason to write a novel without poetry. And there's no need to say it.
Although nature is written in the novel, if it is written as a poem, if it has nothing to do with the life of the characters in the novel and has nothing to do with activities, it is not successful. In the novel, nature is written into poetry, and it is not the best when it comes to helping to express the thoughts, emotions, and even actions of the characters.
The novel is to poetize the actions of the characters, and all the actions and lives must be poetry, whether the life and action are ugly or beautiful. Only by taking this step and avoiding the first two items can we open up a new garden outside of Mr. Lu Xun's garden, and only then can we be worthy of Mr. Lu Xun, and Mr. Lu Xun will not come to the human world in vain. And I can assure you that Mr. Spirit in Heaven is waiting day and night for us, the dead, to do so. Otherwise, although Lu Xun is worshipped every day, praises Lu Xun, remembers Lu Xun, and even offers Lu Xun up, and goes to live three times a day and kowtows nine times a day, Mr. Lu is still dead.
At this point, my words are over. But I'd add a few more words.
I wanted to talk about Lu Xun of the stylist and Lu Xun of the classical writer after saying the above nonsense. (Lu Sin as a Classicist, Lu sin as a stylist) energy is too late, and there is not enough knowledge. And the time is also quite long, so after saying the last paragraph, I will get off the donkey.
I'm sorry to sit for a long time.
February 1, 1947
【P.S. Notes】
Mr. Gu Xianji, a former teacher, wrote Lu Xun of a Novelist from January to February 1, 1947. Although it was a draft prepared for the lecture, it was a very important treatise on Lu Xun's novels and even Chinese novels. The former master had the greatest admiration and admiration for the great Lu Xun, and tried to say to me: "I have not personally inherited Mr. Lu Xun's karma, but I have always regarded myself as a private disciple, and I have infinite admiration in the mountains." Mr. Xian Ji is one of the most important poets since the "May Fourth" (poet is a real meaning and a broad term, because Mr. Xian Ji has a profound knowledge of all rhymes), and he appreciates and explores the characteristics of China's great novelists with the eyes of a poet.
After he had written it, he sent me the manuscript, as he had done in other writings, and explained that if a copy could be copied and sent back, the manuscript could have been left behind. This is because I especially cherish my husband's calligraphy. I still remember that this manuscript was made of fu jen university newspaper red grid manuscript paper, and Mr. Fu Jen university used a pen to make cursive according to the grid, which was unique in style and very cute.
My brother Hu Chang also read it, voluntarily copied it for me, and sent it back to mr. Huchang. I once quoted a short paragraph in the humble book "New Certificate of the Dream of the Red Chamber", and after the book came out, I asked Mr. Chen Ming that he could not ask for consent in advance, please add the original.
Soon after the gentleman was newly cured of his serious illness, he replied in a handwritten letter, saying: "I am extremely honored to have such a good book and lead to a clumsy work, how can I forgive?" "My husband's enthusiasm for encouraging young people and his heartfelt joy will always make me grateful and my memory is fresh. In the 1960s, someone in Tianjin said that he wanted to compile a collection of poems for him, and to sweep up a large number of manuscripts of my husband's treatises that I had treasured for many years (many of them were made for me - another way of communicating and discussing scholarship), and they would not return them later, nor would they be responsible for questioning, and their whereabouts are still unknown.
This great loss made me extremely sad and angry. "Lu Xun of the Novelist" is also in this large number of losses. Every thought is deeply hated.
I did not want Comrade Gu Zhijing, Mr. Gu Zhijing, mr. Gu Zhijing, mr. Gu Zhijing, to suddenly find this copy of Huchang's copy for a very unexpected reason (it was probably a person with a heart in the "Cultural Revolution" who took this copy from Mr. Gu's "copied" manuscript to read it, and thus fortunately escaped the catastrophe alone), she saw that it was Huchang's handwriting, and gave it to me -- this important document was fortunately left behind.
When Comrade Zhijing presented this paper in honor of Mr. Lu Xun and Mr. Xian Ji this year on the centenary of mr. Lu Xun's birth, I felt the need to attach this passage to the article and talk about my personal nostalgia for the two gentlemen. In order to publish the convenience of typography (the original copy is also a lot of cursive characters), Yichang copied it by hand again, and this layer of ink edge should also be attached here.