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Editor's Note
Recently, the Hundred Flowers Literary and Art Publishing House has sorted out and published the "Complete Compilation of Books and Clothing Records", which has aroused strong repercussions in the reading circles. As an original form of writing created by Mr. Sun Li, "Book and Clothing Records" has always been valued and loved by the research community, the publishing community and the majority of readers, and is one of the parts of Sun Li's works that can best show his academic accomplishment, ideological trajectory and living conditions. So why is Mr. Sun Li called a master of literature? Today, I would like to share with you an article about Mr. Sun Li written by Professor Sun Yu of the College of Letters of Chinese Min University, which may give readers and friends some inspiration.
Sun Li's Lu Xun legacy
Author: Sun Yu
One
Sun Li's fever, which has continued behind him, has become an interesting story in the literary world. Summarizing his life, the topics are quite rich, implicating many nerves in literary history. In his early years, his writing was pure as the voice of a child, and in his later years there were more traces of the old literati, but on the whole he was not among the cultures of scholars and gentlemen, and there was real anger among the people. What I personally often pay attention to is that the voices of Lu Xun that linger in his writings have become part of his spiritual history. If you read his works carefully, in the depths of your soul, you can't get rid of a theme of modern literature. To understand his thoughts and aesthetic characteristics, we cannot fail to take this factor into account.
Mr. Sun Li (1913-2002)
When I read his complete works, I can always encounter a place where he and Lu Xun have a silent dialogue. Sun Li looked at Lu Xun and admired it, but he did not follow the trend, knowing that when understanding the classics, he also had to choose something and have a corresponding sense of distance. Most of the time, however, he used his favorite sage as a reference to derive the dimension of intellect from it. His entry into Lu Xun's world coincided with the period of the War of Resistance Against Japanese Aggression, and he published many articles in regional tabloids. In the 1940s, the "Young Lu Xun Reader" was published, which had a flow of beauty. At that time, he did not read much information, but according to the series of Lu Xun's own words, it formed a biography, which was inevitably single. But his grasp of the temperament of the depicted object, as well as the dotting of the mood, have a taste. The existence of Lu Xun is presented in his pen with a fairy tale rhythm, which is extremely rare in the later history of Lu Xun's dissemination. He also published books such as "Lu Xun, The Story of Lu Xun", revealing his true love. When he was in Yan'an, his understanding of Lu Xun had formed a relatively mature view, but it was still limited to the aesthetic level of the novel. His creations are not all hints of Lu Xun, but also the shadow of Russian literature. During the War of Resistance Against Japanese Aggression, he had a dream to popularize Lu Xun's ideas in the border areas. He said in "On the Popularization Of Lu Xun":
Many comrades in the border areas have already begun lu xun's research work, but I think the purpose of this kind of work should be to popularize Lu Xun and spread it to the countryside, so that men, women, and children have a clear understanding of Lu Xun, so that they are very familiar with Lu Xun, just as they are familiar with Confucius (of course, Lu Xun is not Confucius, and we make them familiar with Lu Xun, nor do we make them familiar with Confucius). This kind of understanding and familiarity is to spread a force among the people, a force to lay the foundation of the new democratic culture.
Therefore, we should start the following kinds of work immediately:
First, compile a popular and detailed biography of Lu Xun. This should include the deeds of Lu Xun's life. Academic research, creative achievements, and his outlook on life, the merits of the struggle for the people, and so on. This biography must be combined with China's modern history.
Second, adapt Lu Xun's famous novels and become popular stories or short plays. Such as "A Q Zheng biography", "Hometown", "Blessing" and so on. In fact, Lu Xun's works are very popular, but sometimes they are too strict in the rules, or sometimes they use some classics, and sometimes they are not convenient for folk reading. It is best for us to adapt it into a recitation novel, which can tell the recitation at any time, so that women and children can understand it, but cannot damage the spirit and artistry of the original work too much.
Third, in his lifetime, Lu Xun made great achievements in his efforts to popularize literature and art, and set the direction for those who came after him. Such as on myths and legends, new texts, woodcuts. We must tell the masses of this spirit and achievements of Lu Xun, so that the masses themselves can continue this kind of work.
We want to broadcast the spirit of Lu Xun in the countryside of North China...
Sun Li: The Collected Works of Sun Li (Supplementary Edition) (Hundred Flowers Literary and Art Publishing House, 2013)
This is the most appropriate method for Lu Xun to spread in the border area. He started to do a lot of work himself. Before and after that, he wrote articles such as "People's Nature and Fighting Nature: Commemorating the Thirteenth Anniversary of Lu Xun's Death" and "The May Fourth Movement and Chinese Literary Heritage". During the war, Lu Xun gave him the warmth of a candlelight in the cave, and his reading of Lu Xun was related to the needs of that time, and all that entered his world were Lu Xun's bright thoughts and realistic feelings, which were very accurate, and the depth of his cognition was extremely rare at that time.
For a long time, Sun Li's understanding of Lu Xun was placed at the level of dialogue with literature, history, and reality, and the number of specialized research articles written was considerable. But most are scattered between some critical text and essays. Until his later years, Lu Xun's topic was never interrupted. For him, Lu Xun was not an academic topic, but a topic of life, and he never wanted to be a researcher, nor did he care much about the academic research of the eight strands. From his short texts, we can see some discussions about Lu Xun bit by bit, many of which flow in the blood of the text. Modern writers, loyal to Lu Xun's tradition, he is one of the most representative.
In his later years, Sun Li's reading taste and writing taste have changed. There are many critical sketches, and he buys books according to Lu Xun's book list, and is close to his spiritual teacher in terms of knowledge structure. The words are solemn and old, and there is a sharp beauty. But on the one hand, it also has the interest of the Beijing literati, but the values are different from them. His last book, positioning himself as a warrior, is a photograph of his spirit. Lu Xun's warrior image overlapped in his mind, with a sad beauty.
From a meteorological point of view, the scale and thickness of Sun Li's articles are not at the same level as Lu Xun, but they have formed their own characteristics. The rhythm and sentiment of his articles have a lot of essences of the ancestors, and we can really see the similarities between them. They all have the enthusiasm of the world, but on the one hand, they are also lonely and worried. None of them haunt the popular places, and the calm in the sober is beyond the times. The older he got, the more his articles bore traces of Rufuzi and added his own experience. So he became a self-contained personality, walking alone in the literary world, and emitting immeasurable emotions at Jinmen. Because of his presence, the richness of left-wing literature continues.
Two
Sun Li admired Lu Xun in many ways. His grasp of the essence at the level of essayology is beyond the reach of others. Tang Tao once had similar feelings, emphasizing the value of studying Lu Xun's words, and it seemed that they did not attract people's attention. Later researchers did not put much effort into this. Sun Li's lifelong discussion in this field not only rose to the level of academic theory, but also echoed related topics in the writing of the essay, so that it had a strong feeling.
In 1939, in "On the Problems of Correspondent Writing", he regarded Lu Xun's articles as hot articles, which were intertwined with reality. Articles cannot avoid problems and are one of the main meanings of the author. He talked more than once about the value of dialogue between writing and reality, and found the basis in "Scream", "Wandering", and "Hot Wind". In 1941, he presented his views on the study of essays in a more comprehensive way in the pamphlet "Literary and Art Studies". There is no trace of a scholar here, not even the eight breaths of Russian culture. Sun Li wrote this book, and made a heartfelt explanation of the structure, characters, heart, and language of the article. Its logical starting point is based on Lu Xun's literary concept. In his view, the following connotations of Lu Xun's works are worth studying:
The first is the spirit of facing it head-on. When talking about the characteristics of Lu Xun's spirit, "Study of Literature and Art" believes that the arousal of Lu Xun's words to the people is his programmatic existence, and everything revolves around the transformation of society.
Second, the character image reflects the problems of society. When analyzing "The True Biography of Ah Q", I saw that the inner topic is no longer the expression of the self-spirit, but the consciousness of the people, and the vast space is looked at.
The third is that the language is simple and evocative, with folk spoken language, foreign languages, and ancient languages. But in the end it is the expression of Middle-earth.
The fourth is that the structure is properly traded off, and the context of the article is formed in the rules without rules. "Kong Yiji" "The structure looks like nothing, it is very natural." But a closer look reveals the rigor of the art. ”
In this pamphlet, Sun Li calmly came from the tone of the article, taking Lu Xun's works as an example, writing with a foreign spirit and an inner charm. As far as the theoretical path of article learning is concerned, it is a summary of the new literary concept after May Fourth. The experience of the new literature formed a consistent and consistent pulse in him. The popularity of the old literature and the spirit of the book are rare in its writing.
From the perspective of his feelings about the works, he is a novelist's feeling, starting from the tradition of may fourth vernacular, but partial to the spirit of realism, in addition to the novels of Gogol, Chekhov, and Pushkin as references, mainly from the experience of Lu Xun's novels and essays. This seems a bit narrow, not as narrow as the ancient and modern Chinese and foreign refutations when Mao Dun and Yu Dafu talked about the article. But it was precisely this simplicity that made him directly connect with the spirit of May Fourth and position himself in a distinct position.
Since then, there have been more and more expository texts about Lu Xun, and when he outlines the essence of Lu Xun's works, he has many wonderful insights. This influenced his conception of the article. For example, Lu Xun's articles are characterized by "freshness", and the concept comes from the inspiration of the "Historical Outline of the Chinese Novel". When it comes to Lu Xun, it feels appropriate. The second is simplicity, the article does not have to be written full, there must be room. "Writing, think more, write less, our problem is to write more, think less." Inspired by Lu Xun's essays. Third, to refute miscellaneous, taking the "New Compilation of Stories" as an example, "as far as its historical knowledge, literary techniques, and philosophical ideas are concerned, they are not easy to deny, let alone easily surpassed." This feeling has a heart for the wonderful aesthetic form. The grasp of the intrinsic nature of articles and works can be described as very homely.
But his positioning of Lu Xun is not the topic of intellectuals, but the topic of revolution. While academic and critical circles emphasized Lu Xun's translation, editing, and individualism, he focused on understanding Lu Xun from a revolutionary level and regarded the cause he was engaged in as a gift of Lu Xun's legacy. He said:
What Lu Xun recalled and wrote was the era of combat mobilization, and we were in an era when the battle was in full swing. In Lu Xun's works, we often see those who have been poisoned by the old society, scarred, crazy, and sickly. Widow orphans are common. These people are tossing and turning in pain, living in numbness. And today, just from our "One Day in Jizhong", there are also new people with waves in the sea and as many nebulae in the sky. These people are torn between battles and live in the joy of reason.
That's a leap forward. Of course, the blood of martyrs was shed in the meantime...
In 1949, he wrote in "People's And Fighting Nature: Commemorating the Thirteenth Anniversary of Mr. Lu Xun's Death":
You can't limit your work to "thought." Mr. Mister's work cannot be listed only as a creative translator, a book to be printed, a journal, a young writer and a concern for the woodcut movement.
We should remember how he supported March 18 during Duan Qirui's dark ages; how he supported the revolutionary people during Chiang Kai-shek's long and bloody reign; how he personally went to the German consulate to protest Hitler's fascist brutality; and how he called on the people to resist the War of Resistance Against Japan.
He was not only a great enlightener, thinker and writer of the revolutionary culture of the Chinese, he was a strong standard-bearer and a serious fighter in the years of the Chinese Revolutionary War.
This is the logical starting point of Sun Li's Lu Xun view. The beauty of the essay is attached to the back. The high degree of unity between ideology and artistry is, in Sun Li's view, the character that a great writer should have. Only with this in mind can we have a comprehensive understanding of his View of Lu Xun. No matter how the state changed later, there was no way to think about the problem without leaving these two levels.
Three
The founding of New China in 1949 brought him joy. But the new life is not as smooth as expected, and his own writing is still tenacious. In this process, he has a small deviation from the mainstream culture.
From "The Beginning of the Storm" and "Ironwood Prequel", we can see the difference from the surrounding context. The novel continues the clear style of writing in the early years, the childlike feeling of life is not reduced, and there is the existence of the true character of the literati. "The First Chronicle of the Wind and Clouds" writes the story of the anti-Japanese resistance, the characters are lively, the misfortunes of the war years and the will of the people to resist, all jump realistically in front of the eyes. He recalled that period of history, with the pen of life, between the curves, the feeling of great love was pervasive, and the feeling of being bumped was shrouded in the work, and that time for him was not a capital of boasting, but a kind of retrospection of the old traces of life. But this kind of introspection that goes back to multiple integrations can be seen as a strange existence in the red novel.
Sun Li: "Ironwood Prequel (Commemorative Edition)" (Hundred Flowers Literary and Art Publishing House, 2012)
The culture of the Yi Dynasty had a painful process for the scholar and the gentry class. The winner is hard to predict. But Sun Li was different from others, and after the victory of the revolution, his days of happiness were short. In the aesthetic world, their own taste is disdainful of the external Lilu. This prevented him from entering the hierarchy of power and preserved the state of amateur creation during the war years.
In 1956, he retired from the literary world for a long time due to physical reasons. His illness kept him away from the political whirlpool and gave him time to think coldly. While the whole country is in the frenzy of political movements, he is tormenting himself in a place of cold silence. Soon it was the change of the "Cultural Revolution", and the spirit seemed to enter purgatory. This gave him a slight change in his outlook on life. The imagery in "Wandering" and "Weeds" has repeatedly entered its world. The other side of Lu Xun inadvertently broke into his world and gave him many hints. This has also given the opportunity for a comprehensive dialogue.
Judging from the bits and pieces of text left at that time, Sun Li's early beautiful and bright tone was replaced by a melancholy whisper. In his own words, from believing in the goodness of human nature to the concept of evil in human nature. But there are still residual dreams, struggling in the gray place. When we look at the "Book and Clothing Records" left at that time, it is the self-chanting of the cultural depression period. There was almost no light color, everything was in the dark. He smeared on the coats of old books to release depression. Talking to yourself, your heart is vast and miserable, as if you are suffering in hell. Family affairs and state affairs are between words, and despair and uneasiness and unwillingness to die pervade the words. Those words, mostly borrowed books to talk about their own personal experiences, or involved in trivial matters, or fragments of old things, the traces of the ancients, the thoughts of today's people, flashed between the lines like fragments. The "Cultural Revolution" has a wide literary network, and there is almost no breathing space. His writing was so depressing. On November 22, 1975, the phrase titled "Tea Room Bills" is worth pondering:
Early yesterday morning, one of the birds raised was released in a cage. He will fly away, without losing his direction, and find the same kind of people in the mountains and forests; or he will be raped and frozen to death, and the rest is unknown. In short, he has ended a snare of misery, the sorrow of the cage. Caged, daily diet, and free from cat-eating eagle grabbing and other dangers, but he is not willing to do it. The thoughts of the same group, the thoughts of the mountains and forests, are always haunting. Every time he hears the same sound, he chirps and touches the cage to seek it, which is very merciful. Once free now, even if you die, you will not turn back. Yu knew that he would be able to return to the old nest and greet the sun and sing.
Sun Li: "Books and Clothes: Handwriting" (Hundred Flowers Literary and Art Publishing House, 2013)
Sun Li: The Complete Compilation of Books and Clothing (Hundred Flowers Literary and Art Publishing House, 2021) inner page
There are ambushes everywhere between the words, the pen and pen are metaphorical, and the desire for liberation of the heart is vividly remembered. At the end of the same year, the text written in Chen Laolian's "Water Margin Leaves" is extremely sentimental:
This book was purchased by the deceased with me at the old store department of Heping Road. After my illness, she accompanied me to the park, to antique shops, bookstores, to my own favor, and to help me recover quickly. During my convalescence, she traveled back and forth to Xiaotangshan and Qingdao several times. She is a rural housewife, illiterate, raised at an early age, and has feelings after marriage. I have a shame for her. Whoops! It has been five years since I died, and there are occasional meetings in dreams, there are no words of mourning for the dead, and my feelings are exhausted, and the dead should forgive me!
In this state of mind, we read out the misfortune in the sea of suffering. Since then, the style of the article has changed. There is more somber atmosphere in the plain, and the tragic meaning in the ancient wind is swirling, reminiscent of the verses of "Weeds". Here is the whisper of a victim, as if entering an Andreevian state of depression.
During the war years, he wrote songs for the people, with voluntary impulses and freedom. The Cultural Revolution, on the other hand, was incarcerated with ideas and the wicked dominating culture. This made him realize the root cause of Lu Xun's inner darkness and sense of revenge.
After the collapse of the "Gang of Four", Sun Li was in a good mood for a while, but soon entered a difficult situation. Many murmurs are mixed into the literary world, and he has more and more discomfort, and the gap with the times is more and more. Until the 1990s, melancholy words were not only no less, but constantly surrounded the body. When he argues with others, his courage does not diminish, and when he faces himself, the meaning of sadness comes to himself. So I often borrow flowers, birds, grasses and insects to look for metaphors. I have a personal taste of the hero's tragedy. He classified the thickest consciousness of his life as "broken consciousness." The homeland of the war era was broken, the spirit of the "Cultural Revolution" was broken, and the later marriages and family ties were broken. When he realized this, Lu Xun's sense of struggle and the concept of resistance were constantly summoned by him. Since we live in an imperfect world, the process of finding the way is the process of relieving the suffering and the process of the pursuit of beauty. The meaning is also in the midst of that long, endless trek.
Not having perfection and facing the broken is precisely the inspiration that Lu Xun gave him. Therefore, in the way of being a man and the way of writing, he is always low-key, neither engaging in grand narratives nor occupying the mountain. Reject the hustle and bustle, resist the false name, and stay away from the pleasures of the world. So he banished himself to the wasteland, facing the sand moraine and the dry valley alone, and looking at the sky with a bloody voice. And sometimes, we are like hearing the chant of a nightingale, slowly rhythming, to warm the boring night.
In many articles, he has always believed that staying away from the lively places will look at the world differently. In the article "Me and the Literary And Art Group", he said:
Twice in my life, I have proposed to "stay away." Once it was a little farther away from politics, and some people criticized this as a petty-bourgeois argument. But my work, on which it depends, survives to this day. This time it is to stay away from the literary world.
At the center of the discourse, it seems inappropriate to find oneself. Lu Xun was like this, and so was Sun Li. Someone asked him to help influence the appraisal of the Mao Dun Literature Prize, and he wrote back that he was not familiar with people, and cultural institutions became yamen yunyun. More than once he criticized the fashionable writing that illustrated politics, something that was no more than a quick fad. His example is that writers like Xiao Hong are unique because they have a little distance from the mainstream, which is the expression of fellow travelers. In the most intense era of the revolution, why did Lu Xun not translate novels with strong political overtones, but chose the "Harp" of fellow travelers, which have artistic skills and are slightly distant from the revolution, Sun Li's understanding is very unique:
Xiao Hong's creative life began in 1933, and her interest in literature began in 1929. At this time, the leftist tendencies in Soviet literature were being criticized. Fellow travelers began to introduce literature to China. Lu Xun, Cao Jinghua, Qu Qiubai and others translated the two books "Harp" and "One Day's Work", of which the works of fellow travelers accounted for a large proportion. Fellow writers sympathized with the October Revolution, had creative experience, paid attention to technique, and inherited the Russian realist tradition. They describe the reality of the revolution, first and foremost through the description of real life. Compared with some party-member writers at that time, those who only paid attention to political content and regarded literature and art as a simple means of propaganda were deeper and more beneficial to the revolution... Xiao Hong's works are obviously influenced by fellow writers, and from the very beginning, she shows a talent that profoundly reflects reality. Of course, her path may also be due to the lack of concern for politics, the lack of practice and training of revolutionary life, after losing the opportunity to share with the broad masses of the people, she feels lonely, deepens the melancholy, reflects in the work, and even affects her life.
Sun Li is extremely recognized by Xiao Hong's works, believing that its charm is absolute sincerity and does not deceive herself; "Although her early works are childish, the success is also naïve. She writes about the characters, rich and poor, beautiful and ugly, without falling into the formula, focusing on their original nature, which has a revolutionary tendency." These words also seem to be a bit self-conditioned, and there are many places where the hearts are imprinted. The true color of the Chinese literati lies in the loneliness of Andrew, willing to live on the edge, while the heart embraces the earth. The experience of the ancients proves this, and the history after May Fourth also proves this.
Looking at these feelings, there is no doubt that they all involve Lu Xun's tradition. Therefore, he also deeply felt that Lu Xun was the internal reason for Lu Xun.
Four
I personally like his writings in his later years, because the quality of those who read the world is also true. There is no simplistic sigh of life there, and there are still old dreams in the bitter taste. Having experienced the suffering of serious illness and divorce, in the world, there are many body odors, and the richness of inner consciousness is no longer comparable to the war years. Many of these remain in the Yunzhai Novel.
"Wen Wei - Literary Trivia No. 2" said: In recent years, when I have been a guest, I always give him a copy of "The First Record of the Wind and Clouds" first, and then send him a copy of "Yunzhai Novel". I said, "Please look at my life, all in these two books, from which you can learn about my past and present." Including my thoughts and feelings. You can see my rise and fall, my successes and failures, and their causes and effects."
"Yunzhai Novel" is a leap forward in Sun Li's aesthetic consciousness in his later years, and his taste still has the imprint of the old times, and there is more Lu Xun-style suffering. Lu Xun's novels write about deformed lives and failed literati, and the heavens and the earth are gray. Sun Li's "Yunzhai Novel" writes about the tragedy of the "Cultural Revolution", which is almost the same theme. His sense of frustration, his sense of failure, and his sense of death converged so intensely.
Many works are difficult to distinguish between true and false, and like Lu Xun, he uses the anti-novel brushwork as a text, which has a different taste. The novel writes about disease, natural disasters, man-made disasters, and deaths, which are extremely tragic. He learned to look at the wicked and depicted many deformed characters. From the top to the high-ranking officials, down to the civilians, between the ugly, the light and dark changes in the world, all into the pen.
Lu Xun experienced the Xinhai Revolution, and his disappointment was mostly revealed in "Scream" and "Wandering". Ah Q's revolution, Wei Lianzhen's encounter, is a commentary on the life of an era. "Yunzhai Novel" is a reproduction of the fate of the "Cultural Revolution", the author's "Little D", reminiscent of "A Q Zheng Biography", but the connotation is not as deep as the latter, and the implication is to attack its wind, which is a reflection on the inferiority of the people. When the "Cultural Revolution" came, the goons became rebels, the dregs were flooded, and Little D jumped from a low-level worker to a revolutionary, taking power and harming people, and the despicable situation was lamentable. Sun Li said: "The revolutions of the past are aimed at carrying forward the fine qualities of man; today's revolution is the use of man's despicable selfishness." To do the opposite is to complain about the anger of heaven." "Little Bastard" writes about a rogue person at the bottom of society, who writes the greed and muddled nightmares in his character quite eloquently. The shadows of Lu Zhen and Wei Zhuang drifted among them. "Luo Han Song" depicts a person who came from the revolutionary ranks and met the source left and right in the movement. The protagonist flatters the powerful, adapts to changes, and gets benefits in reality. But human nature has changed completely, and there is no pure color. Game life and game politics are spiritual degeneration. Sun Li sighed: "This 'great revolution' forced me to abandon the bias of only believing in the goodness of human nature in the face of countless facts, and also believed in the theory of sexual evil, and adopted a Lu Xun-style, extremely contemptuous attitude toward all ugliness." His clear and clear attitude towards the world is clearly recognizable between words.
The touching place of "Yunzhai Novel" is the expression of the sense of failure. The novel is true and false, false and true, or can be regarded as an autobiography, and there are also illusions as the purpose of reality. Narrator I, without a perfect life, died my wife, remarried and divorced. Despotic by the revolutionaries, there is little freedom. "The Precepts of Speech" writes many words and losses, and the bitterness of being criticized; "Anecdotes of the Dead" has the pain of family changes, the wisps of helplessness, and the flow of bitterness; "Returning home" is a lost trip, a revolutionary returns to his hometown, but there is no happiness left. "Rich and noble do not return to their hometowns, such as clothes and brocade night travel", another expression of Sun Li's ancient meaning, which is deeply rooted in the world. "Continuation of the String" is not afraid of the leakage of family ugliness, and has been unfortunate, one by one. A failed marriage can only be safe. However, in some texts, the love of his early works still remains, and in those dim worlds, the beautiful flowers and plants are heartwarming, giving the boring times a little interesting. "Summer Palace" depicts the care of his friends during his illness, and although "Fig" is a dislocation of life encounters, the warmth contained is gentle. In the years without love and light, occasionally there is warmth wafting in, you can rejoice, remember, and talk about storing photos. What kind of helplessness is this? In his unfortunate words, we see the undebilled love. The cloud at the end of "Three Horses":
The master of Yunzhai said: Mr. Lu Xun has a word, a true warrior, who can face the bleak life and face the dripping blood. Yu can be described as a person who has come over, but he is not a warrior, but a coward who steals his ears. However, it was finally seen that the state had rectified the chaos, and the "Gang of Four" was put on trial by all the people. Pain is mourning for the dead. In the end, it was hated that they died in the darkness and did not share the blessings of political clarity, so in the year of fainting, there were still works of Yunzhai novels.
Read this little book and see the strange light in the tragedy of fate. Since Lu Xun, writers with thoughts and a sense of mission have been plagued by the theme of good and evil. Evil is gained by good, or good is gained by evil, or innocent is mistaken by false good and true evil, or trapped in true good and false evil. In the novel, Sun Li learned to write about the incomprehensible world with a complex pen. The old-fashioned writing has the sound of the world. In the place where the demons are mixed, not Ah Shi, go to the pseudo-tune, far Li Lu, write the voice of hope with a desperate pen, that is also a reproduction of Lu Xun's tradition.
Five
In his later years, Sun Li, reading and writing, more and more with the taste of the Beijing school, his essays, directly to the Zhitang, both knowledge and poetry, miscellaneous and miscellaneous thoughts are together, indeed a rare text in the forest of books. Some people say that it belongs to the Beijing faction on the left wing, and I am afraid that it is not unreasonable. However, although the taste of reading has traces of bitter rain, its tone is very different from that of the Beijing school. Instead, Lu Xun's reading experience was continued between his words.
He purchased books according to Lu Xun's books, and became interested in wild history and miscellaneous works. Buy Zhang Taiyan's suicide note and not forget Lu Xun's testament; read "The New Language of the World" and quote the words of the "Outline of the History of Chinese Novels" to explain it; read "Quicksand Falling Jane", and have the wisdom in "Hot Wind"; talk about "Shu Bi" and "Shu Dian", and never forget the comments in "And Jieting Essays"; read "Shen Xiaxian Collection" and use the "Legend Collection of Tang and Song Dynasties" to deal with it. This kind of reading method shows the great influence of the sages, and on the one hand, there are more feelings that others do not have. He was involved in all aspects of Lu Xun's knowledge of Traditional Chinese Studies. His love for ancient books was prompted by Lu Xun a lot, even to the point of superstition. "My Golden Stone Art Picture Book" has this passage:
I have a copy of the Golden Stone Rope in a small wooden box, which is a lithographic copy of twenty volumes, with half of the Golden Stone Rope. I didn't like this book very much at first, because Mr. Lu Xun's book account did not have it. That's what I think to death: since Lu Xun didn't buy "Golden Stone Suo" but bought "Golden Stone Garden", it must be because its value is not high. This is ridiculous. Later, I learned that Lu Xun mentioned this book, and he had some good feelings for it, and wrapped them in the covers one by one.
Entering traditional culture from Lu Xun's experience is not much among writers. Some of Sun Li's books were purchased by himself and some were given by friends. In a large number of books, he attaches great importance to non-Confucian, rural books. For example, the statues made in the Han Dynasty were liked by Lu Xun, secretly pondering, and had many experiences. "Inscription < Nanyang Han Portrait Collection >" Yun:
Nanyang is the place where Liu Xiu was born, there are many nobles, and there are many portraits in the tomb, but these statues are carved on the pillars, beams, doors, and friezes in the tomb, and the stone material is coarse, so the carving is also rough and unclear. For example, the portrait of the Wuliang Ancestral Hall is made on the stone wall, and the stone wall is flat, so the painting is also thin and clear. This knowledge also comes from Lu Xun's letter to Wang Yeqiu. In 1935, the Wang clan ran for the "rice bowl", and when they had no intention of archaeology, they were entrusted by Mr. Wang and had to go all out to complete the task. After liberation, Wang Shi led the national archaeology cause and served as the director of the Cultural Relics Bureau, and the source of his knowledge should also be attributed to the influence of Mr. Lu Xun at that time, right?
There is nothing to do in the summer, looking through the Chinese paintings, only remembering some of the experiences as above, but also to commemorate Mr. Lu Xun, for the study of profound and profound, every word and deed, all benefit the future learning also.
Because of the ancient books, he thought of Lu Xun, and from Lu Xun, he remembered his own body, so He Hao sighed at Yuwen. There are many such examples. "Song Xi'an's Widow" Cloud:
Clothes are dressed on September 19, 1992.
In the past, the publications of the Palace Museum were well printed and advanced at that time, and Lu Xun once praised it.
When the old garden was small, friends withered. There is no day to return to the hometown, and there is a period of time in the tomb. There are many hardships in the world, and there are many hardships in the world. Invisible sea of people, wandering abbot. Looking out of the window, the white clouds are leisurely. Yi people died early, who can tell.
I used to read his books and words, and I felt that in some places it was close to the style of Zhitang, and the miscellaneous and miscellaneous knowledge were all there, and the shadow of the bitter rain was there. But a close reading of its text shows that this is not the case. He hated zhitang's blandness, although he did not reject its text, but in his heart he rejected it a lot. In January 1987, he wrote the following passage in the Zhitang Shushu:
Gifted by Liu Zongwu. The price of the book is high, and it is intended to be rewarded.
In his later years, Zhitang read more books of the sages, the books of the remote, and the trivial books, which were very different from the interests of his youth. It is said that he reads a lot and should be analyzed. The secretary written and read has no feelings, no warmth and cold, no right and wrong, no criticism. Flat and straight, with a beginning and no end. It is okay to say that there is no fireworks, but it is not possible to say that it is useful to people. To this extent, the nourishment of life is limited. This may also be the realm he pursued in his later years, and the proposition he flaunted. In fact, it is a decadent phenomenon, not enough to read the law.
The text of Yun's "no feelings, no warmth, no right and wrong, no criticism", is the opposite of Lu Xun. Lu Xun's writings have feelings, warmth and coldness, right and wrong, and criticism. This is also Sun Li's pursuit. Between the Zhou brothers, his trade-offs are clear, unlike the academic circles, where there are signs of compromise. This is the voice that only a warrior can make. In his place, reading and reading people, and even life, are one. At the same time as the puzzle, there is also a value attitude, which is very special. When we look at these words, our faces resemble the leisurely brushstrokes of the Beijing school, but in fact they are the talk of revolutionaries. When he entered the hall of scholarship, he did not forget his folk essence.
Six
Interestingly, Sun Li was one of the first to discuss Lu Xun's spiritual qualities from the perspective of knowledge structure. After experiencing great suffering, he also had a deep taste of Lu Xun's complexity. The characteristics of Lu Xun's four were gradually digested and understood in him. He was aware of the specificity of the context expressed by Lu Xun, and it was difficult to understand Mr. Lu Xun without a specific context. For example, Lu Xun said that he should read less Chinese books and more foreign books, which is aimed at the trend of retro-reformism, but there is no ancient literary cultivation, which is probably a problem. Therefore, we cannot take Lu Xun's right and wrong as right and wrong. For another example, some people write essays, all of which are Lu Xun's tone, but they don't know that it will narrow the way of the article. The way the article is written should be like Lu Xun's extensive collection of essence, and the ancient and modern Chinese and foreign countries should be in the eyes. But blindly imitating Lu Xun, that is actually far away from Lu Xun in creation.
Sun Li did not like to use Lu Xun's quotations as dogma. For example, an anthology of the ancients. Lu Xun advocated reading more of the complete works and not having to believe in the selection of essays. Sun Li thinks it makes sense. But for the average reader and for the author, the selection is very important. He also did not always sing along with Lu Xun's tune, and sometimes he also saw Lu Xun's mistakes in judging people and things, "Wen lin talking about crumbs" Cloud:
Lu Xun had a dispute with Beixin Bookstore for royalties. Lu Xun once said to someone: Li Xiaofeng is not good at running a bookstore, but he took out money to run a sock factory. Sir, this is a bit harsh. Beixin Bookstore also printed a lot of good books, and if a bibliography is listed, it is dwarfed by some current publishing houses.
How to see Lu Xun's legacy? Sun Plough took the great one and used it. He paid special attention to people's evaluation of Lu Xun. The best are the best, and the inferior are the best. Not based on fame. In 1990, when he saw Zheng Zhenduo, Xia Junzun, Yu Dafu, and Lin Yutang recalling Lu Xun's article, he said:
Zheng Wen emphasizes emotion; Xia Wen emphasizes facts; Yu Wen emphasizes comprehensiveness and system. Lin Wen emphasizes personal sentiment, replaces facts with private feelings, and uses more imaginative, exaggerated, and speculative words. The least enough, and not enough to train. Recently, some people advocate negative articles and different opinions. But no matter what opinions are, they must also speak according to the facts, that is, the words and deeds of the deceased before his death, so as to conform to the public opinion of the world.
This is a bit of a scientific attitude, and the vision is sharp. Sun Li also has articles defending Lu Xun, which come from his own academic judgment and are very powerful. The Fiction and Reality of Prose says:
Some theorists, keen on western modernity, deny the prose since may fourth, and even have warriors, that Lu Xun as a target, trying to cut off from the roots. This practice is no longer a one-time approach. In fact, do they really know so much about the development, genre, current situation, and gains and losses of Western prose? Not necessarily. Although they are so disgusted with the Chinese prose tradition and take it easy to cut the grass and remove the roots, their knowledge of this aspect is often very ignorant and shallow. The crowd of people, waving the flag and shouting, is the housekeeping skill of some of them.
Compared with the average Lu Xun fan, Sun Li has his restraint and rationality. His grasp of The essence of Lu Xun is a weather that only writers and thinkers have. In "Wuwei Collection: Talking about Essays", he explained the truth about Lu Xun in his mind and how he could become a rich person like Lu Xun:
To study Lu Xun, we should learn four aspects of him: his thinking, his changes, his cultural accomplishment, the process of reading, his behavior and practice, and his times.
Lu Xunshu cannot be regarded as an idol. Nor can we take what we need from him, pluck a golden leaf, and paste it on our own writings and doctrines. For example, "transforming the national nature", if we think that our national nature is useless, and the national nature of foreign countries, without any shortcomings, can be used as an example of Chinese everywhere, I am afraid that this is not Lu Xun's original intention...
In this way, few people in the academic circles talked about it at that time, especially the spirit of Lu Xun's four aspects. This is the ability to know people and discuss the world, see Lu Xun's knowledge structure and cultural dimensions, and grasp Lu Xun's thoughts in a dynamic way, which not everyone can realize.
Judging from the texts left behind, There are many relics of Lu Xun on Sun Li's body, which are personalized by him in the short text. For example, dare to say the shortcomings of writers, even if they are friends, they will say good things and bad things. In the 1980s and 1990s, he had some pen battles and was straightforward about different points of view. Although the views are also debatable, they are really intentional. Reject private feelings, insist on not making a preface for people, do not write social articles, and do not inscriptions. "Instead of tearing down the dirt, it is better to be alone in the cave". Therefore, it offends the literary world, and offends old friends. The afterword to his last book, Qu Final Collection, also seems to be stained with the smell of Lu Xun's will, and the courage to "not forgive a single one" is still there:
On the stage of life, the song does not end, and the person is no longer seen; or the song is over, but still sees the person. This is not the ability of human beings, but the destiny of heaven. Confucius: Heaven is tired of it. If the sky is not tired, although a thousand people point out and ten thousand people curse, its song can finally be played again, and its people can still dance and ink and point out the country. The infection of bacteria and the itching and pain of lice do not hinder the survival of warriors.
Sun Li: Ten Kinds of Gengtang Anthology: The Final Collection of Qu (Hundred Flowers Literary and Art Publishing House, 2012)
No matter from what level, Sun Li can be said to be Lu Xun's confidant. His inner senses are secretly in line with his spiritual teacher, and his temperament also intersects. The warrior Lu Xun and the warrior Sun Li are on a logical extension line. It's just that Lu Xun's Western learning skills are beyond his reach, which is due to the environment of the times and has no choice. There is less of The Crazy, Deep, and Broad intellectual context of Lu Fuzi, and the vastness of eastern and western intellectuals. Comparing the two, Lu Xun's ancient and modern feelings have a distinction between Chinese and foreign ideas; Sun Li has the former and continues, missing the latter dimension. There are not many writers after Lu Xun who can have such a rich dimension. Sun Li knows his limits, so he acts honestly and writes honestly, not seeking perfection, but his personality does not fall. This can also be seen in another kind of Lu Xun's legacy. From the road of revolution to the road of Lu Xun, Sun Li found a crossover point. This point connects history, reality and the beauty of art. It is true that we, the latecomers, gaze at this.
/ Source: Literary Criticism | Sun Yu: Sun Li's Lu Xun Legacy /
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