Author Sun Yu: A famous contemporary scholar.
One
When Mr. Maruyama came to Beijing, he repeatedly talked about Lu Xun when talking with friends in Beijing, believing that east Asian intellectuals should not forget this precursor. This reminds me of Mr. Kenzaburo Oe, who also mentioned Lu Xun's posture when he talked about his writing. Moreover, his favorite Chinese writer Mo Yan, in the cruelty and coldness, seems to also have the breath of Lu Fuzi, looking at his past life from a distance, and also burning in it, which is probably part of Lu Xun's tradition! Japanese intellectuals cherish their old heritage, especially their individualism. What some of them have been clinging to is incompatible with the mainstream fashion of the world. I felt a sense of independent power in the writings of Hideyoshi Kiyama, Ito Toramaru, and others, but unfortunately their books were translated too little to attract widespread attention, and perhaps Chinese writers could find some kind of echo there.
In the 1930s, Chinese and Japanese writers could also communicate freely, and there were many topics of common concern. Now only a few writers such as Mo Yan, Yu Hua, Li Rui, and Remnant Xue have caught their attention, and it is said that the texts of these people have made them resonate, and the rest are no longer very clear. The diaphragm is caused by history, but it also reminds me of some of the missing elements of contemporary literature. Is it that Lu Xun's anxiety and resistance have weakened in contemporary writing? Or has the scrutiny of the soul been replaced by banal rhetoric?
Contemporary writers have separated literature from scholarship. The writers immersed themselves in the sensual game and gave their minds to the professors. Some intelligent people are aware of this, deliberately adding a little "profound" to the text of the novel, unavoidably contrived, and still lack imagery. However, in the narratives of some marginal characters, special content can be seen, such as Wang Xiaobo, which shows another possibility of literature. He took a different path from Lu Xun, but in spirit there was a similarity: he mocked the indecency of the human world, and spread the wild and cheerful atmosphere of people in his works. Wang Xiaobo may hint at the birth of a new writing posture. Writing is no longer a slave to a strange spirit, and when you return to the depths and depths of your life, you have the true meaning of yourself. However, Wang Xiaobo relies not only on a good posture, but also on the tone of Russell's philosophy in his intellect, which is another reason for the attractiveness of his text. When the author was alive, no critic noticed him, and naturally, the foreigners translated him as a matter of his death.
Wang Xiaobo's death evokes the birth of a new kind of literary criticism, and people begin to look for the unshaked individuals in this world, that is, those intellectual consciences. The lively literary scene is hiding those outliers, and countless performers rush through the scene, supporting them only by money and fame. This is quite similar to some thinkers in history, Nietzsche had few acquaintances before his death, and Cao Xueqin was broadcast in the sea after his death. It is a tragedy that the writing of the consciences of the knower is always going on in silence, and the critics look at them and turn a blind eye.
Reading contemporary fiction is a spiritual stimulus. Those various existences tell us that the inner world of people today is not all or universal works are pleasing. Some of the realms have fallen below the Mandarin Duck Butterfly Sect. There is also an old tendency of the work, that is, the slave phase in writing, the spirit is tightly imprisoned by the lock of the master-slave relationship. It is not a bad thing that the novel becomes a pastime, but if there is no spiritual impulse outside the team for recreation, only entertainment is important, that is, the soul of art is delayed. The outstanding problems here are manifested in the creation of historical novels, a certain attachment and nostalgia for imperial qi, and a lack of painful narrative of women's fate, which proves that contemporary writers present a sense of historical humility and servility in their writing posture. As for the carnal rendering of urban novels and the indifference to the city, it is obviously far from people's cheerful and rushing feelings.
Every art has its own readership. In terms of novels, China has an average of thousands of works a year, some of which sell well. Most of these bestsellers cater to the psychology of society. Thick works like Wang Xiaobo's, with a magnificent shore atmosphere, are very rare. Wang Xiaobo is similar to Lu Xun in some ways, that is, he looks down on himself and does not want to educate others, but they have a kind of restlessness in their hearts, that is, anxiety about reality and pity for the people. While they mock society, they also look at themselves coldly. Therefore, not only is it opposed to the ordinary forces, but it is also cruel to treat yourself. There was a group of writers in Russia who insisted on such a position. It is not just a permeation of critical consciousness, but an examination of the self and human nature. Among contemporary novelists, liu zhenyun, Yan Lianke, Li Er and others are quite close to the above tradition, but the number of writers like this who walks lonely on the earth is still too small. The image of the mediocre is still filled with the literary world, many of whom think they are clever, and some even regard themselves as "masters".
Two
Since Lan Yingnian unraveled the traces of the literary history of the former Soviet Union, Chinese learned the other side of Soviet Russian literature. So everyone knows a number of resounding names such as Isaac Babel, Tsvetaeva, Lidia Chukovskaya, etc., who support the Russian conscience. Because the untimely characters desecrated the pop color, they could only disappear into the long night. Similarly, a group of Chinese scholars rediscovered Zhang Zhongxiao and Gu Zhun. Some forgotten writers such as Nie Cyan and Mu Dan have also surfaced. People who identify with the above-mentioned writers echo that tradition in their works, with their hearts attached to the land and suffering greatly. The essays of Shao Yanxiang, Mu Hui, and Chen Siyi, the poetry of the Xichuan people, and the novels of Yu Hua and Ge Fei all sound a somber sound of history. In his own drama, Guo Shixing wrote a different kind of life, which is a completely different text from others, and presented the independent position of the reader in parody and irony. Everything is subject to the conscience of the land and the self. The subversive power of his works such as "Birdman" and "Toilet" is deeply engraved in the minds of the audience. The strange phenomenon is that the monologue of the earth line is rarely used in the drama world. His obscurity and avant-garde are often questioned as heretics. In the face of the lively literary world, the passing line will never go to its center.
No one can deny that contemporary art has entered an explosive period. The large number of works that come out every year shows a kind of prosperity. But perusing those generally favored works, I always leave feelings of regret. Novels leave far more problems than any other art. When we read the sketches of Sun Li and Wang Zengqi, we are excited, and sometimes we are surrounded by a kind of pleasure, but the world of long stories lacks refinement, and there are always imperfect flaws. The moving details in Wang Meng's "Seasons" series of works are overwhelmed by lengthy narratives; Li Rui is known for his knowledge, but he is entangled in the shadow of history for too long and cannot be freed; Xiong Zhaozheng's "Zhang Juzheng" is written quite atmospherically, but his view of history is somewhat regressive than that of the "May Fourth" era; Chengyi's "Silver Valley" sings and sighs three times, is a strange text, the beginning is extraordinary and the ending is cheesy, destroying the integrity of the whole book; Zhou Daxin's "Twenty Acts" is tortuous and vivid, the whole book is too long, and the details are exposed; the Mai family's "Decryption" Very much Borges's essence, mysterious and complex, but the text is too much carved, but it is not so natural. The above works are rare masterpieces at the moment, and they are always amazing, but it is not easy for people to read them repeatedly. Our literature wanders between refinement and roughness, dullness and agility. The atmosphere of "Dream of the Red Chamber" and the lofty depth of "A Q Zheng biography" seem to be difficult to see.
But we can hear something different from another kind of writer. In Yan Lianke's "Daylight Flow Year", Liu Heng's "Canghe Daydream", and Li Er's "Flower Cavity", I smelled a moving breath. The author's narrative voice is full of sorrow and loneliness. "Daylight FlowIng Year" presents a strange coldness, revealing the sadness of history in the cold and rolling context. Li Er uses a witty tone in "Flower Cavity", and the historical program is reversed in his place. Yan Lianke dialogued with the world in a fabled manner, but Li Er slipped and mocked the hypocrisy of the world. Yan's is different from others, but it presents the desolation of the world, and the apparitions of people are all replaced by dead silence in his place. He wrote sadly in the inscription of the novel:
I dedicate this to the living humanity, the world and the land, and as a last word that I will eventually leave mankind, the world and the land.
Yan Lianke looked at the world with desperate eyes, and the only thing missing was Nietzsche and Lu Xun's uneasy and desperate struggle. It should be said that Mo Yan, who expressed himself freely on this difficult problem, told so much suffering, but when you look at the words, there is a kind of self-confidence and freedom. Mo Yan was reluctant to write as an enlightener or an elite, preferring to enter the text of literature as a member of the people. The story of "Sandalwood Punishment" is tragic and gray, but there are wisps of fire inside, which is the flow of life that is uneasy with misery, right? Mo Yan sometimes can't control his inner emotions, and the novel is too noisy. His words are spicy, rushing, and confident in his heart. It has one more hot luster than Yan Lianke. Their attempts filled a gap after Wang Meng, neither tainted with ideological forms nor ethereal "petty bourgeoisie" sentiments. Mo Yan, Yan Lianke, Li Er, etc. foreshadow another possibility of literature. Finally, in a bland and single text environment, a relatively free text was born. It may not be an exaggeration to call it the divergence of the "May Fourth" legacy. At least in similar writing gestures, readers share the joy of equality, individuality, and passion. Whether this happiness is more or less, literature has sprouted a commendable existence in the differentiation.
Three
The previous literati wrote with a sense of moral mission. There is a difference between true morality and pseudo-morality in morality, and the "May Fourth" generation saw this, but later people who opposed pseudo-morality found that they had also fallen into the old path of morality, and their spirit was never smooth. Before translating Trotsky's theory, Lu Xun also felt that literature and art could undertake the mission of improving society. When Literature and Revolution entered his field of vision, he gradually changed his old view and endorsed Trotsky's theory that literature and art were not a product of the time, and that there was a limit to its usefulness. The neo-literary movement after May Fourth proved that some of Trotsky's views were profound. Anyone who teaches others in a domineering way in writing is a bit contrived in the text. Instead, entering the creation from the perspective of ordinary people has left a real impression. The poems written by Ai Qing in prison are the songs and cries of those who are imprisoned and not willing to despair, and their hearts are attached to the earth, so they have become the voice of the people. Xiao Hong's novels and poems are vivid and vivid, the breath of the black earth is spread in between, and the sincerity and simplicity plus the beautiful rhythm are simply a symphony. In this world, you can only share and dance together, and you will never get the imprint of generosity. Zhu Xiang's writing is made of blood. It was a text of a frustrated person, and each line of poetry was printed with pain and despair, and the rhythm of trying to transcend that despair. The writing posture of these people is a natural, immoral preacher's manifesto. They tell their own confusion and inadvertently present a kind of fable. But the existence of art also contains another phenomenon, which is related to the status of honor, and thus becomes a tool for preaching and preaching. The hypocrites also loved this, so they had different tones. In his later years, Lu Xun warned young artists that creation is a bitter road, do not think that you are noble, as if there will be flowers and preferential treatment around you in the future, but some left-wing writers in China have unfortunately embarked on this road later, and after the success of the revolution, they have put on a broad face, and readers will no longer like them. The posture of writing is not something that can be pretended at once, there is probably a projection of personality there. When Cao Yu was not famous, the logic of the narrative was exquisite and exquisite, and when he met him prominently, the high and exquisite was no longer accompanied by him. The first volume of Yao Xueyu's "Li Zicheng" is magnificent and has an extraordinary tone, which is the child of the author's suffering, and the spiritual realm is transmutative, but later became famous, and intentionally showed learning and thought in the novel, and the work was a bit out of style. Lu Xun's warning at that time was like a spell, I don't know how many celebrities were shot, the cruelty of art is made by natural forces, and non-human beings can sway.
Galtai's painting and writing in his later years became more and more pure, without losing the exuberance of his youth, but also the tragedy of his twilight years. He used the true qi of life to pour ink into the text, the heart and the heavens and the earth were enlightened, and everything was in one, and the text and painting were vast and hidden, and there was immeasurable sorrow and joy. The heart of the child in the writing of the old man is a precious relic, and these cannot be seen in popular colors. From this, I also think of the works of Sun Li and Zhang Zhongxing in their twilight years, which have been immersed in the sea for a long time without impurities, recounting the past in poetry, and the Tao is suffering from the people, which is printed with the afterglow of Lu Xun. The characteristics of the above people do not think that they are successful people, but in the text are the bitterness of mortals, the glory and disgrace of the sea of dust, and the changes of the heavenly opportunity. They believe that everything is disappearing, along with their own words. But the handwriting and patterns in the anxiety and struggle have become an aura of beauty. If we say where the spiritual fire of a nation is, we cannot fail to mention this.
After the Song Dynasty, the literati commented on the works, already told the truth, and had a harsh opinion on the superiority and inferiority of the literati. He Xue, a Song dynasty, wrote ten volumes of "Chunzhu Chronicles", which recorded anecdotes from contemporary literature into the book. When the author wrote the article, there were many vulgarities, and there were various kinds of flattery and hypocrisy, which were ridiculed by posterity. Shao Yichen wrote in the "Annotation of the Concise Catalogue of the Four Libraries": "The miscellaneous records of this book are absurd and the character is very low." He Xuan wrote a book, which was intended to show off himself and show off, but unexpectedly showed a clumsy attitude, so he smiled generously. Notes such as "Chunzhu Chronicles" have very few spirits and inferior insights, but they use more energy in strange stories and blindly worship Su Dongpo, which is inevitably a bit servile. Gong Zizhen of the late Qing Dynasty hated the vulgarity of the literati since the Song and Qing dynasties, and wanted to find a new style of writing, which showed that the customs had been common for a long time.
The greatness of the new culture of "May Fourth" lies in the fact that it has swept away all kinds of bad habits in the world and injected it into the blood of the living. Chen Duxiu's writings are attacked by Hao, and there is no hypocrisy to pretend. When Qian Xuantong wrote, he was cheerful and cheerful, and there was no yin qi or ghost qi. Even Liu Bannong, who writes about people and things, has a real strange atmosphere, the words are pure and smooth, and there is not much narcissism. This is a new generation of wind, but the time is short, and it was soon interrupted by frequent wars and chaos, and it became a great success. Lu Xun once lamented that China did not form an intellectual class like Russia, and that scholars and doctors were too practical in reading and writing. When the true intellectuals pick up the pen, they do not care about the stakes. They face everything in the world, freely moving between light and darkness.
Four
For more than fifty years, literature has taken a tortuous path. The intellectual community has set its sights on the underclass, and in the weak and small classes, it has seen the warmth and cold of the world, but it is intermittent. This sentiment supports a literary history, and if there is anything worth recalling, the words between this field are somewhat nostalgic.
Zhao Shuli's tradition was once snubbed by academic figures, and it is still loved by some writers today. His descriptions of rural customs and the fate of the characters are many clever. Gao Xiaosheng wrote about the mentality of the villagers, with Lu Xun-style humor and mourning, and there was an indescribable bitterness between the words. Yu Hua's "Alive" is simply a sad song, between the life and death of the characters, what you see is a corner of modern life, and the natural nature of the folk jumps on the paper, which is not as high as the ivory tower. This tradition has different branches, and there are also high and low realms. Although there are few works, people can read the warm current of the author's conscience here. Sometimes it is possible to glimpse the narrative tone of the authors as members of the people, which brings the text closer to the reader, and people approach them and feel the power of kinship.
Works on rural life are still the most shining parts of the literary world. Liu Qingbang and Sun Huifen's novellas often give people an impact effect. In Liu Qingbang's "Sacred Wood" and "Ballads on the Plains", the tension of the spirit and the obscurity of the tone illustrate a period of sad history. "Ballads on the Plains" writes about the sufferings of the villagers, and it is a picture of trembling. With silent brushstrokes, the author restores a forgotten history. Liu Qingbang has a gentle and elegant side in his nature, and he is naturally fond of the simple legacy of Yingxia, but he is not intoxicated by it. This point is far different from Sun Li, who does not forget the hardships of man in his heart, but is entangled in the tragic image of the world. "Ballads on the Plains" is a sad aria, where there is no self-aggrandizement, no place to flatter the reader. He sank so deeply into the black hole of history, releasing the voice of a long-imprisoned heart. This point is very similar to Liu Zhenyun and Liu Heng, and there are differences in meteorology, that is, they are tied to a kind of cornerstone: facing misfortune and misery. Sun Huifen, on the other hand, likes to use hidden curvature to turn the roulette wheel of memory. Her mysterious brushstrokes flow with rural dream songs, bad luck and warmth are mixed, showing still Xiao Hong-style silence, grace and resentment in the dirt, and ancient ghosts. Between this shore and the other shore, man is covered by an ancient totem, and compared with the previous vernacular literature, contemporary writers have become accustomed to cruelty and coldness. There is also the flickering of the afterglow of "May Fourth", right?
The memory of the countryside is often the shaping of group eagles, and sometimes it can be said that it is a metaphor for the nation. The display of the fate of the weak and the weak in the city has sensitized the difficulties of modernity. Qiu Huadong, Xu Kun, Ning Ken, etc. all noticed the wanderers of the city, and the cold silence of the works was no less than the songs of the countryside. Ning Ken's "The Gate of Silence" writes about the suffering of a mentally despondent young man in Kyoto, and is clearly printed with the images of "Diary of a Madman" and "Metamorphosis". "The Gate of Silence" is a long poem like poetry, with a simple story, clear lines, and a light and catchy read. Rather write about the absurdity of the human world in an upside-down time and space, and the first thing that infects the reader is the self-deprecation of the protagonist and the sense of self-defeat. The protagonist's nervous disorder and the disorder of life record a long shadow. Kafka and Lu Xun wrote such stories. I'd rather get something out of it. "The Gate of Silence" is full of self-deprecation of life, and the bright and polished shadow of life disappears here. This is reminiscent of Gard, Andreev, Babel and others. Although Ning Ken is far less profound than them, reading "The Gate of Silence" will be disappointed by the single tone, the language is bright but simple, and there is little aftertaste, but the author's tendency makes people see a kind of writer's self-consciousness: narcissistic monologues have no real life. Cruelly examining oneself actually has calmness and self-confidence.
It is gratifying to occasionally see the above words in the noisy literary world. Although contemporary writers have almost all left regrets in terms of language cultivation and philosophical epiphany, and some works have obvious defects in structure, the occasional flash of inspiration breaks the dullness, as if connected with the spark of spiritual turbulence. Trotsky once said that "man is about to liberate himself from all mystical and ideological fogs and to transform society and himself according to his own plan" (Note: Isaac Doicher, The Disarmed Prophet, vol. II, Central Compilation Publishing House, 1998, p. 214). ）。 Contemporary Chinese novelists no longer have Trotsky's impulse to "transform society and themselves", and all they are willing to do is record and meditate, but they are also struggling to break free from the "fog" on their bodies. If you compare the changes in literary concepts in the past hundred years, you can understand the light and dark in between.
Five
When discussing the writing of Chinese writers, Hero Mushan particularly values the philosophical attitude of Lu Xun's "Weeds". Later, he also noticed the poems of Zhitang, Qigong, Nie Cyanzi, and others, and discovered the struggle of intellectuals in distress to die. Regarding Lu Xun, he has written wonderful articles such as "The Logic and Method of the Construction of the Main Body of "Weeds"", "The Poison of Zhuang Zhou Hanfei", "Zhenggang Zigui and Lu Xun and Zhou Zuoren". But the writing of another kind of person outside the Lu Xun tradition attracted interest, which was meaningful to this Japanese. For example, when talking about Qi Gong, he found the Chinese literati's self-mockery and teasing. That article says:
Recently, Zhang Zhongxing, who was very close to Qi Gong and had been a teacher and editor for many years, published many memories of famous literati and scholars, and even nostalgic works about the lost interests and qualities of the old literati, including the self-deprecating statement that cited this "Qinyuan Spring" as an example and called it "into the bone" ("Negative Continuation: Self-Deprecation"). It is said that this is not a hidden conceited modesty or unfairness, but only a self-ironic humor, "jumping out of the body" with the rare power of "great wisdom" and "sublimating from deep self-knowledge to self-deprecation". This is an understanding that comes from the pity of the same disease, and the ridicule of the "rotten stream" of the joke collection "Laughing Forest Guangji" for the eternal talent of the ten thousand years of xiucai, which is also interesting to see as the self-irony of the fallen readers who can only compile this kind of book, but it seems that there is also a suspicion of not admitting it. Having said that, Qi Gong's post-reading preface to the book also praised it as "great wisdom and great compassion" and "a perfect person who is both philosophical and stupid", so we have nothing to say. However, if you want to find an example from the scriptures, you can also take out Xu Wei and Zhang Dai, who left a deep self-made epitaph after indulging in art and literature, right? It can even be assumed that such a self-deprecating tradition is used to parody the stereotypical articles of self-examination documents that many intellectuals have been writing in successive ideological reform movements under the revolutionary regime. In short, sublimation or sinking, there is a place to "jump out" from the discourse of the times in this sense, so even the old set of self-deprecation of the literati has an extraordinary cheerfulness.
Hero Mushan saw a valuable gesture of Chinese writers. In his eyes, Lu Xun's feelings may be a symbol of the maturity of self-consciousness. In fact, intellectuals like Qi Gong and Zhang Zhongxing are full of the infatuation of the old-style literati, but after passing through the new society, their hearts overlap with the "May Fourth" culture. Qi Gong and Zhang Zhongxing's dissection of themselves is cruel, and the text has a rare truth. Qi Gong's oil poems and Zhang Zhongxing's reminiscences have in common that they admit that they are a loser. In a ridiculous time and space, man suddenly finds himself unable to save himself, and literature and knowledge have become nothing more than an illusion. So they revealed their astonishing sincerity, and the nature of the human world emerged one by one. Zhang Zhongxing's "Broken Shadows of The Flowing Years" was splashed with tears, and reading it also brought people to tears. When an author dares to face up to the limitations of the self, the tension of the text naturally appears. Du Fu, Li Qingzhao, and even Yu Lichu, Huang Zunxian, Su Manshu and others actually had similar expressions. Literary critics of the old days were right to call these people "frank people" and "to be at ease with the heavens and the earth." To this day, being able to have a similar boldness is still rare in the literary world.
There are two types of writing that are difficult to do. One is Borges's ivory tower epiphany, which requires a high intellect and seems to have the eye of heaven. The other is the Babelian, who, as an ordinary member of the journey of suffering, participated in a life-and-death struggle, leaving behind a mixture of light and dark images in the text. Babel's work is particularly revealing of pathetic human suffering, where the connotation of inclusion cannot be exhausted in secular language. The author does not have any ostentatious and performing self, he sinks into a black world, and he himself becomes one of them. "Cavalry Army" writes about the world of man and beast, the difference between beauty and ugliness, all contain blood, which naturally reminds people of Lu Xun's "Diary of a Madman", when people are eaten, they are also eating people. Facing the heavens under the manifestation of guilt, is there blood in your heart? Only Lu Xun of Chinese writers revealed the wisdom of Babel, and he was not even inferior to Borges, because there were enough spiritual mysteries in his texts, and its metaphysical elements were enough to confront the intellectual gamers. After Lu Xun, only a few writers had similar tendencies, and it was no wonder that Mushan Hero liked to look at Nie Cyan crossbow, Qi Gong and others so much. The genetics of those people have Lu Xun's factors. There are variations, but the basic tone of the knowledge community is still there, which makes people happy and tend to it, right?
Six
When it comes to the posture of writing, it is natural to think of anonymous writing in the literary world. In the history of literature, there are many works by anonymous people. Needless to say, the works that have not been signed since the late Qing Dynasty can be found a lot. When Chen Duxiu edited newspapers and periodicals in the early days, he rarely used his real name, and the same was true for Zhang Shizhao. Lu Xun's original book used his brother's name and did not care about reputation. Because writing is not a name, nor is it a profit, but it is just an expression of thought. When Mao Dun first wrote "Disillusionment", his state of mind was very bitter, and he did not value identity as much as later. In this way, the writer acquires a transcendent possibility in which the consciousness of the intellectuals is sometimes expressed.
Dissolving one's own meaning and communicating with the world from an anonymous perspective is not something that anyone can do. Feng Wenbing used the pen name of the abolished name, but unexpectedly became famous. Lu Xun once ridiculed the name of the name of the name, thinking that writing must cause problems of identity, and it is impossible to have nothing to do with reputation at all, but dissolving himself and looking at himself in a low-key way at least distances the narrator's spirit from the world of objects, which is an important difference. Kafka and Babel suppressed some of their passions in their works, sometimes even subverting themselves between the lines. Wang Shuo and Haiyan also exude a playfulness of the self in their popular texts. Wang Shuo's "I am a hooligan and who I am afraid of" is a monologue of a marginal writer, and we at least read the author's free mentality from there. As for Haiyan's novel, although it is far from the text in the ivory tower, the courage to impact oneself in suffering is more lovely than the average writer. Undoubtedly, contemporary novels have an obvious childishness, and the mentality of writers has been somewhat disturbed. But there is such a factor in our literature, and he may be an indispensable reference for later writers.
The writing of old-style poems by contemporary writers is an area of considerable concern. There is a world completely different from mainstream discourse. Kiyama had already noticed this when he examined the writing of Chinese intellectuals. Most of the people who write old style poems are entertaining themselves and have no intention of circulating them. That world has its own secrecy and playful mentality. Some are even confrontations with the world, and after publication, they will produce a kind of harm to themselves. For example, the poems written by Nie Shuyi during the Cultural Revolution are completely superego pastimes, but they are all moving, constituting a spectacle of the literary world. Zhang Zhongxing wrote those five-word and seven-word poems, which were shu and indignant, and the frustration and indulgence of life were related to this. Li Changsheng, a writer in Japan, always sings harmony with his friends in the old style of poetry, there are many touching places, and the troubles in the world are accumulated here, and you can see the real life here. Literature is sometimes useless, just like the fruit in the painting, it has no taste, and the charm of itself is beyond doubt.
Also associated with anonymous and low-profile writing is a kind of literature, namely game articles and oil poetry, which is a common way for literati to express themselves. It's full of irony, cynicism, masochism, and metaphors. Lu Xun is particularly good at this, and his poem "Self-Deprecation" is the self-talk of intellectuals in the true sense of the word, which has been recited by the world for a long time. The oiling works of the old man of Zhitang also have a taste, but unfortunately many people do not understand it, but Lu Xun can see the mystery and say the deep meaning in it. Among contemporary scholars, there are many masters of writing oil poems, in addition to the Qi Gong mentioned above, Yang Xianyi, Shao Yanxiang, and Chen Siyi have good works circulating in the world. Scholars like Yang Xianyi, who have experienced great hardships and profound learning, naturally have a lofty vision for the world. He talks about the world, his eyes are bright, and he is a little cunning, but the strange atmosphere between the words is everywhere, and in a casual way, the pride of intellectuals flows out. Since the Six Dynasties, the literati in China have had a tradition of satire, wandering in the sea of books, wandering in the mountains and forests, with unorthodox and serious, indecent and elegant, out of many strange masterpieces. But that's a lot of scholar-like. It was only on May Fourth that there were Chen Duxiu and Lu Xun-like figures, who were quite similar to the intellectuals in the Western concept. In the old tradition, we finally see the fire of the spirit alive.
China's intellectual community is colorful. Lu Xun was looking forward to the existence of an intellectual like a Russian, which was the flash of the national conscience of that era. After Lu Xun, many writers struggled to take such a road, but it was very rare to persist. Today's writers are in droves, and there are still people who are struggling along this path. Writing is suffering from devastation and suffering. We have lost so much and gained so much. Most of this harvest is like a trickle of streams, and it is difficult for the reader to get long-term nourishment. In a country that is gradually being disturbed by desertification, lakes and greenery are long-awaited.