Page 1 About the Author
Lu Xun (September 25, 1881 – October 19, 1936), originally known as Zhou Zhangshou, later changed his name to Zhou Shuren, the character Yushan, and later changed the character Yucai, a native of Shaoxing, Zhejiang. Famous writers, thinkers, revolutionaries, educators, democracy fighters, important participants in the new cultural movement, and one of the founders of modern Chinese literature.
In his early years, he went to Japan with Li Suizhi and Qian Junfu to study at public expense, and studied at the Sendai Medical College in Japan. "Lu Xun", the pen name used when publishing "The Diary of a Madman" in 1918, is also the most widely used pen name.
In his lifetime, Lu Xun made significant contributions in many fields such as literary creation, literary criticism, ideological research, literary history research, translation, introduction of art theory, introduction of basic science, and collation and research of ancient books. He has a major influence on the development of Chinese society, ideology and culture after the May Fourth Movement, and is well-known in the world literary circles, especially in the fields of Korean and Japanese ideology and culture, and has an extremely important position and influence, and is known as "the writer who occupies the largest territory on the cultural map of East Asia in the twentieth century".
Family members
Zhou Jiefu: Lu Xun's grandfather (1838-1904), real name Zhifu, later changed his name to Fuqing, the character Zhensheng, the number Jiefu, the first Meixian. Born in Hanlin, he was sent to Renzhi County, Jinxi County, Jiangxi Province, but was later imprisoned for the Kechang case, which caused the Zhou family to begin to decline. Zhou Jiefu's "advocacy and practice of free reading" opened a gap in lu xun's closed system of traditional education.
Jiang: Lu Xun's stepfather (1842-1910), Zhou Jiefu's stepwife, Zhou Boyi's stepmother, when she died, Lu Xun personally handled the funeral for her, she was humorous, often told lu xun folk stories, gave him folk culture enlightenment, and her stoic character also left a lifelong unforgettable impression on Lu Xun.
Pan Dafeng: Lu Xunshu's grandmother (or Aunt Pan), Zhou Jiefu's concubine.
Zhou Boyi: Lu Xun's father (1861-1896), real name Zhou Fengyi, the character Boyi. He was open-minded and a sympathizer of the Western affairs movement. Later, he was plagued by illness, and his illness made Lu Xun experience the hardships of life.
He Shi: Lu Xun's grandmother, a native of Gaofu Town, Huiji County, and his father He Yuanjie edited for the Hanlin Academy.
Lu Rui: Lu Xun's mother (1858-1943), she was kind and resolute, kind and courageous, and her thinking was relatively open, which had a great influence on Lu Xun.
Zhou Zuoren: Lu Xun's second brother (1885-1967), formerly known as Zhou Xiaoshou, is a famous modern essayist.
Duangu: Lu Xun's younger sister, who died before he was one year old, about one year older than Zhou Jianren.
Zhou Jianren: Lu Xun's third brother (1888-1984), formerly known as Zhou Songshou, biologist.
Zhou Chunshou: Lu Xun's fourth brother (1892-1898), died prematurely at the age of 6 due to fever and fever.
Zhu An: Lu Xun's legal wife (1878-1947), a native of Dingjialang, Shanyin, Zhejiang (present-day Dingxiang Lane, Shaoxing), married Lu Xun at the age of 25 in 1906 at the age of 28. She and Lu Xun have been a nominal couple for twenty years but live a completely celibate life. Lu Xun's mother's life has always been taken care of by her.
Xu Guangping: Lu Xun's lover (1898-1968), a native of Panyu, Guangdong, was once a student of Lu Xun, and she took care of Lu Xun's life for the rest of his life.
Zhou Hainian: Son of Lu Xun and Xu Guangping (1929-2011), radio expert.
Page 2 Summary of contents
The "New Edition of Stories" only includes eight novels in "Patching heavens", "Casting Swords", "Running Moon", "Non-Attack", "Lishui", "Exiting Customs", "Cai Wei", and "Rising to Death", which involves Lu Xun standing on the standpoint of modern thought, creatively using a variety of modern novel forms of expression, re-narrating and re-evaluating ancient Chinese myths, legends and historical figures, and skillfully infiltrating his own thinking and criticism of current real life and ideological culture in this re-narration and re-evaluation.
In the process of recounting the ancient myth of Nüwa "cutting the loess to make people" and "refining stones to repair the heavens", Lu Xun tried to use Freud theory to explain the "origin of man and literature", which brought a distinct modern depth of psychological expression to the ancient "Patching the Heavens".
"Cast Sword" is based on the "legend of revenge between the eyebrows" in the "Legend of The Legend of The Difference", but the author focuses on the thrilling process of how the "black man" avenges the eyebrow ruler, and in the hype of the "black man's" will to revenge and the way of revenge behavior, the text powerfully conveys Lu Xun's unique understanding and evaluation of life, sacrifice and friendship.
"Running Moon" does not choose the heroic story of the legendary Yi "shooting and sealing the long snake", but focuses on the embarrassing situation that he fell into the "useless place of heroes" after that, and encountered embarrassing situations such as "Fengmeng Shooting Yi" and "Chang'e abandoning home and running to the moon" in desperation.
The reason why Lu Xun chose such a re-narration method that is "dislocated" with the ancient legends is to meaningfully highlight the other side of "Yi" as a hero, that is, his lonely, embarrassing and weak human nature, and to convey a sense of heart imprint across eternity.
In "Non-Attack", Lu Xun nervously and dramatically writes about the battle of wits and courage between Mozi and Gong Lose, which finally prompts the King of Chu to abandon the attack on Song. With his will, courage and wisdom, Mozi in "Non-Attack" saved the weak Song Kingdom and saved tens of thousands of Song Kingdom beings from being destroyed, which is a broad human feeling, a profound humanitarian spirit, and a boundless love, which is also the spiritual path that Lu Xun himself has been practicing all his life.
In Lu Xun's mind, "Dayu" belongs to one of the spiritual models of "burying one's head in hard work, working hard, asking for the people's life, and sacrificing oneself to seek the law" that has existed in China since ancient times. The novel does not directly write about how difficult It is for Da Yu to rule the water, but to suggest it indirectly: "The face is black and thin, but from the look, I know that he is Yu", "Yu then steps straight to the seat, sits on it, about the same big look, or has a crane knee wind, does not bend the knee and sits, but stretches out two feet, the soles of the big feet to the big members, and does not wear socks, the soles of the feet are full of chestnut-like calluses. ”
Through the text's close-up of Dayu's "black and thin face" and "calloused soles of his feet", readers can appreciate Yu's hardships and perseverance in the water of governance, "hard work and anxiety, living outside for thirteen years, and staying at home at night". In addition, in "Li Shui", Lu Xun also fictionalized a group of scholars gathered on the "Cultural Mountain", who ignored the terrible disaster of the flood and boasted of being high and useless on the "Cultural Mountain".
On the one hand, "Exiting the Customs" recounts "the scene when Confucius saw Lao Tzu twice" and the process of Lao Tzu's choice to go west out of the Han Valley. On the other hand, in the narrative, the author deliberately caricatures the image of Lao Tzu, satirizing the hidden philosophy of some intellectuals in the 30s who used Lao Zhuang philosophy as a talisman and pursued a perfunctory and retreating to avoidance. "The person who knows the times is Junjie", this is a kind of summary of the survival experience of the ancient Chinese, which is both a kind of wisdom and a kind of sophistication.
"Tsai Wei" is the most comedic and most inherently tragic of the eight novels in the New Edition of Stories. Lu Xun made full use of comedic techniques to constantly lay out all kinds of embarrassing dilemmas encountered by the Brothers Chen Boyi and Shu Qi: the unpeaceful old-age hall, the failure to hold the horse and advise, the uneasiness on the way to escape, and the contradiction of eating and drinking.
In the history of ancient Chinese philosophy, it is often "Lao Zhuang" at the same time, not only because the two are in the same ideological line, but more importantly, Zhuangzi thought is more systematic and speculative than Laozi. The Theory of QiWu is one of the most interpreted "Yuan Classics" in the Zhuangzi Inner Chapters throughout the ages.
"Rise to Death" uses the form of a one-act play to interpret a fable in "Zhuangzi Zhile"—the dialogue between Zhuangzi and the skeleton—into a novel: Zhuangzi asks Taishang Laojun to cast a spell to revive the life of a man who has been a skeleton after 500 years of death. After the Hanzi came back from the dead, he asked Zhuangzi for clothes and packages, and at this time, the mysterious and speculative promotion of "Fang Sheng Fang Die, Fang Sheng Fang Sheng" "QiWu Theory" faced with the rough desires and demands in reality, it seemed helpless, and the end of the text described the end of Zhuangzi having to flee into the wilderness, thus revealing the paradox of reality of this philosophy.
In reality, life and death are two separate boundaries. Behind the clear distinction between the two worlds, it carries a kind of choice and thinking about the value and meaning of life and death: not knowing life, knowing death; sacrificing life for righteousness, is the rational judgment and moral evaluation of the justice of individuals choosing life and death in traditional Chinese culture.
In fact, in China in the 1930s, every intellectual had to face such severe torture, face or avoid, bear or give up, give up or take, and so on, which became a striking scale of the spiritual balance of intellectuals in the 30s.
Page 3 Background of writing
The New Edition of Stories is Lu Xun's last innovative work, and 5 of the 8 articles were written in the last period of Lu Xun's life. Faced with the threat of death, in the midst of internal and external difficulties, and physical and mental exhaustion, the overall style of "New Story Edition" shows unprecedented calmness, abundance, humor and freedom.
Although Lu Xun's inherent sadness is still hidden in his bones, he is humorously "game pen and ink", which shows that Lu Xun's thought and art have reached a new environment and have a certain foresight. In many of its articles, it can be found that there are two colors and tones of "solemnity" and "absurdity" in the presence of either hidden or present, thick or light, which complement, penetrate and dissolve each other.
The end of the text depicts the end of Zhuangzi having to flee into the wilderness, thus revealing the paradox of reality of this philosophy. In reality, life and death are two separate boundaries. Behind the clear distinction between the two worlds of Youming and Ming, it carries a kind of choice and thinking about the value and meaning of life and death: not knowing life, knowing death.
Sacrificing life for righteousness is a rational judgment and moral evaluation of the justice of individuals choosing life and death in traditional Chinese culture. In fact, in China in the 1930s, every intellectual had to face such severe torture, face or avoid, bear or give up, give up or take, and so on, which became a striking scale of the spiritual balance of intellectuals in the 30s.
Page 4 Reader Comments
1. The overall style of "New Story Compilation" shows unprecedented calmness, abundance, humor and freedom. Although Lu Xun's inherent sadness is still hidden in his bones, he is humorously "game pen and ink", which indicates that Lu Xun's thought and art have reached a new environment, with a certain foresight. In many of its articles, it can be found that there are two colors and tones of "solemnity" and "absurdity" in the presence of either hidden or present, thick or light, which complement, penetrate and dissolve each other.
2. "New Compilation of Stories" is the crystallization of Lu Xun's loneliness, nothingness, doubt and hope, and Lu Xun has created a series of characters in modern society with the help of the mythical image with distinct personality in Chinese mythology. It further expresses the criticism and reflection on the national spirit and culture.
Page 5 Quotes
1. "Are you?" Will you avenge me, righteous man? ”
"Ah, don't you use this title to wrongfully accuse me."
"So, do you sympathize with our orphans and widows?" ......”
2) "Oh, child, don't mention these insulting names again. He said sternly, "Righteousness, sympathy, those things, which were once clean, have now become the capital for the release of ghost debts." I don't have what you call it in my heart. I just want to avenge you!" ”
3. From the queen down to the courtiers, the frightened condensed look also moved in response, as if feeling the darkness of sorrow, and the skin was grained with millet one by one; but with the secret joy, he narrowed his eyes, as if waiting for something.
4, around the water's edge of a high and a low swim three turns, suddenly open eyes, dark eyeballs appear particularly brilliant, but also opened their mouths to sing:
Wang Zeliu Xi Haoyangyang;
Overcome the enemy, overcome the enemy, and be strong!
The universe has no limits to its longevity.
Luckily, I came to the light!
Qingqi Guangxi will never forget.
The other place is different!
Oh wow,
Oh come back, oh come to accompany the blue light!
5, the head suddenly rose to the tip of the water to stop; after a few tendons, up and down, the eyes glanced to the left and right, very beautiful, still singing in the mouth:
Ahu woo woo woo woo woo
Love Woo Woo
Bloody heads whimpered.
I'm going to have a head and no one!
He used a hundred heads, a thousand heads...
(To be continued)
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