Classical feelings

On Luxun's Classical Feelings

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Author: It has been read 257 times.

This paper makes a subtle and brief discussion on the "classical feelings" contained in Lu Xun's creation, and points out that Lu Xun's "classical feelings" are interpreted in modernity. Inheritance and selection; It is particularly clear from the aspects of creating a new school and establishing a new school, which makes us deeply feel how important it is for literary creation to have a deep knowledge and a broad vision.

Keywords: classical feelings, modernity, inheritance and choice, innovation

Lu Xun is a great creator and an outstanding stylist. Lu Xun's articles are profound, thick, sharp and extraordinary. This is closely related to the strong "classical feelings".

The "classical feelings" mentioned here refers to Lu Xun's creative passion in the modern social environment and cultural context, and it is to transform China people's souls and cultural ills, and to combine classical elements with modern literary thoughts with profound knowledge and rich experience, so as to add profound characteristics and a heavy sense of history to profound and sharp creations.

Lu Xun has a profound understanding of China culture and world culture and rich experience in translating foreign literary works. He always stands at the peak of cultural development and observes the development trend of China society and China culture, including literature. In Lu Xun's view, only by "reaching the general trend of the world, measuring its positive quantity, excluding its bias, and winning its spirit" can we "not lag behind the general trend of the world from the outside, but still lose its inherent blood from the inside" and "restore the ancients with today and not establish new sects". ("Tomb Robbery and Cultural Prejudice")

Lu Xun's "classical feelings" are based on this broad vision, profound knowledge, comprehensive new machine and innovative natural expression. Its rich connotation is embodied in the interpretation of modernity; Inheritance and selection; It created a new school and established a new school, which has great artistic power to destroy decay.

Interpretation of modernity

Lu Xun's "classical feelings" have distinct modernity.

Lu Xun has been examining "the soul of China" all his life. He said: "China's soul is written in history, which indicates the future fate, but because of too much whitewashing and nonsense, it is not easy to figure out the details." Lu Xun said that when we look at history, especially when unofficial history and Zaji describe the Five Dynasties, the Southern Song Dynasty and the late Ming Dynasty, we can find that "the Republic of China is still the Five Dynasties, the late Song Dynasty and the early Ming Dynasty." ("Gai Hua Ji Hu Si Si")

Therefore, when he interprets the Chinese Soul, he can start with complex historical, social and cultural issues, and connect reality with history, thus drawing a profound, powerful and thought-provoking conclusion. With concise and powerful pen and ink, and with a thorough understanding of the rich knowledge of China history and China culture, he can do both, whitewash and nonsense, and reveal the truth of this soul one knife at a time. We can see that in view of the argument that foreign archaeologists extrapolate and China scholars "preserve the past", Lu Xun pointed out that "those who do not innovate cannot preserve the past". Because "the status quo is irrefutable evidence, much more powerful than ancient books." "The boss's people stand in a rigid tradition, refuse to change, decay to the point where they have no energy, and even kill each other." ("Gai Hua Ji suddenly thought of six") and "defending the ancients is also defending yourself." For example, China people often take "resignation" and "moderation" as the magic weapon of self-defense. Lu Xun pointed out that this is not only a kind of inertia, but actually "cowardice". They "dare not resist when they meet the strong, so they whitewash and comfort themselves with the word' golden mean'. Therefore, if China people have power, when they see that others can't help them, or when they have a "majority" as their talisman, most of them are cruel and arrogant, acting like tyrants and doing things without restraint. When they are full of "moderation", their strength has been lost, and it is time for "moderation". When it comes to complete failure, there will be a' life' as an excuse and a slave, but it will often be cornered and out of touch with the Holy Road. " (Gai Hua Ji newsletter) Lu Xun's words 80 years ago, with their penetrating power, let us see the truth of the souls of those who defend themselves by "letting nature take its course" and "the golden mean", and can also be used as a mirror to let us see the cowardice of the current "China soul" and the dirty hearts of corrupt elements and people obsessed with power and money.

Lu Xun examined the Soul of China with a high degree of wisdom, rich experience and accumulated knowledge, both in the early stage and in the later stage. We can see that his later essays, especially his essays on cutting the street in the first, second and third episodes, contain his extensive and profound thoughts on the "soul of China", the concentrated embodiment of China culture. The article "The 23 rd Incident in China" is historical and realistic, pointing out that it is also a bad habit of China people to praise "arson". Qin Shihuang burned books, and Xiang Yu burned Epang Palace, which became famous all over the world. Now, too, "if the fire is set bigger than before, then that person will be more respected." From a distance, he looks like a savior, and the fire makes people feel bright. " This is really turning a blind eye to the exposure of the evil souls of those militarists who waste people's money, are overjoyed and arrogant. Talking about "kingly way" is also a combination of vertical and horizontal. As evidenced by Chinese and foreign remarks, it confuses the "kingly way" and "overbearing" of rulers in previous dynasties and reveals the dark psychology that "kingly way" covers up "overbearing". Of course, this can also be used as a reference for us to understand reality. The book "The Complete Works of Buying Primary Schools" is an essay to investigate the literary inquisition in Qing Dynasty, and it is also a painful text to examine how we were tamed by foreign masters and the slavery roots left over to this day. Miscellaneous Talk after Illness makes an in-depth investigation and analysis of China people's psychological states, such as elegance and ferocity, spring and autumn brushwork, and bullying the city, which are interlinked with history and reality, and also provides us with a key to understand their truth from history and reality. China's modern Confucius is also such a chapter.

Lu Xun said: "It is true that people who have read ancient books are the most powerful. Because he can understand the ills, he can' attack the shield with the spear of the child'. " In this regard, Lu Xun's main job is to remove "tumors" and ulcers and get rid of the dross of feudal culture. Is to abandon the old adage, walk down the "Three Graves" and "Five Codes" that hinder "First, survival, second, food and clothing, third, development", and oppose those old people who are full of old ideas but want to be arty, and "reminisce about the old days, and then miss the old society and are reluctant to go" (Literature in Revolutionary Times); Oppose those who fall at the feet of the ancients and want to seek fame; Oppose those advocates who "turn the butcher's cruelty into a smile and end it" and regard essays as "knickknacks". (Crisis of Essays) He pointed out that those who "became famous through innovation or studying abroad, and their livelihood gradually became rich" easily flowed into essays obsessed with "leisure" because they were uneducated and had a shallow foundation, "covering up their previous obsession with ghosts, but they had to be new because of the environment. Once successful, it will inevitably relapse, gradually play with antiques and start to see the old. " (Letter from Lu Xun to Yang Jiyun 1934.5.6)

These phenomena and problems pointed out by Lu Xun in those years are still repeated in the academic and literary circles, even worse. We can't help but marvel at Lu Xun's profound understanding of "the soul of China people". Now those scholars and creators who want to reflect on China culture still need to listen to Lu Xun's warning and weigh their understanding of China culture when making such efforts. Don't take out the "old means of selling fame" that Lu Xun pointed out with shallow knowledge.

Even in New Stories, a work directly based on history, Lu Xun used modern ideas to illuminate ancient times according to the records of ancient books, and used the method of "mixing ancient and modern" to reveal the truth of ancient people and things, with the aim of revealing the similarities between ancient people and modern people in spirit, temperament, thought and character. It is interspersed with descriptions of modern people's language, behavior and style, which makes the new story reveal the truth of some national souls in humorous, solemn and absurd narratives.

Lu Xun's "Classical Feelings" All these modern interpretations of "Chinese Soul" are reflected in profound thinking and have extremely profound characteristics.

Heredity and selection

"Inheritance" and "choice" make Lu Xun's "classical feelings" exude a particularly profound meaning.

He said: "it is a way to adopt foreign good rules and give full play to their functions to enrich our works;" It is also a way to choose China's heritage, integrate new machines and make future works unique. " He said: "Because the new class and its culture did not suddenly fall from the sky, it probably developed in the resistance to the old dominator and its culture, that is, in the opposition to the old, so the new culture is still the inheritance and choice of the old culture." He pointed out that this kind of "inheritance" and "choice" must be that "the old form is adopted, and it must be deleted, and deletion and acquisition will lead to the emergence of new forms, that is, changes." And "the beginning of a new form, that is, the transformation of the old form." This understanding of Lu Xun further makes us realize that this kind of "inheritance" and "choice" is not passive, but active. This process of "inheritance" and "selection" is a process of gradual absorption, melting and creation. The deeper this "inheritance" and "choice" is, the deeper innovation will be continuously obtained. In this process, new cultural elements are constantly born and old cultural elements are constantly eliminated. So create in the flow and develop in the flow. As Lu Xun said, "A turbid stream is not as clean and clear as a glass of clear water, but after distilling off part of the turbid stream, there are still many cups of clear water." (quasi-romantic conversation, from deaf to dumb)

We can see the artistic charm of "inheritance" and "choice" in his novels. In his works, he concisely summed up his thorough knowledge and understanding of China culture. He is familiar with historical experience and lessons, and used the word "cannibalism" in Diary of a Madman, which surprisingly summarized the disadvantages and essence of feudal ethics for thousands of years. In Medicine, he revealed the truth of people's ignorance and numbness and the fact of martyrs' heroic sacrifice through the superstitious mental state of "human blood steamed bread" with grief and indignation, and described a desperate life tragedy. This is a vivid summary of how many practices and historical lessons he observed! At the same time, in his works, he also revealed the hypocritical faces of many "poetic legends" Taoists, exposing their extremely hypocritical and "butcher-like" faces. Didn't Master Lu watch Sister Xianglin die tragically on a snowy night while maintaining the "blessing" etiquette? That Cheng Siming is full of ethics, but his lewd mind is on his face, taking the suffering of the people as the object of fun. Isn't it necessary to wash beggar girls with soap? Didn't Zhao, who had a braid on his head, raise the "Zhang Ba Snake Spear" when he heard the news that "the emperor set up a dragon court"? And so on, all show the profound artistic power of pointing directly at the core of feudal ethics and exposing the depravity of the upper class and the sorrow of the lower class.

The generalization of "Spiritual Victory Law" with Ah Q as the core of "China people's soul" is the crystallization of mobilizing all Lu Xun's rich historical, social and cultural experience. Lu Xun said that he wrote The True Story of Ah Q in a country where everyone is isolated and has no soul mate. Therefore, "writing the modern soul of our people" is not easy. The reality is that "ghosts" like the ancient sages who "divided people into ten categories" are still wandering around and dominating people's minds, and they are getting worse. "Even the human body has arithmetic" makes people more numb and alienated, so that "one will not feel the physical pain of others" and "one will no longer feel the mental pain of others". Coupled with the word "rare and terrible", "the high wall built by the ancient religion makes them dare not even think about it." What they heard was that the rulers grew silently, withered and died like grass under a big stone for their own "opinions and reasons of a few saints" for four thousand years! Therefore, the creation of The True Story of Ah Q is that Mr. Lu Xun mobilized his profound knowledge and understanding of the 4,000-year history of China and China, and wrote The Life of China People with all his efforts, "drawing the soul of such a silent China person". The true story of Ah Q created in this way is of course an immortal classic, and the image of Ah Q is of course an immortal literary model. It is of course reasonable that people with little knowledge are not worthy of their own expectations.

In Lu Xun's essays, we can see the advantages of his "inheritance" and "choice". He used his essays to build a bridge between history and reality, and showed his profound knowledge and outstanding opinions of proving the present with the ancient and discussing the present with the ancient. He used this essay microscope to "take dirty water and pus, sometimes study gonorrhea, and sometimes dissect flies". In the eyes of superb scholars, this is trivial, filthy and even hateful, but in his view, it is also a kind of "serious work", which is related to life and "not easy to do". It is not easy to make "essays" in the collection. ) In his essays, he refers to the so-called "legacy of old China" such as "practicing, meditating, boxing" and "preserving the quintessence of the country", and refers to the so-called "China literati", including "Eight two dog" and his master, as well as the rich, eunuchs, wives and young ladies. These are exactly what we need to deeply understand and observe China culture and China society. For example, in the article "Looking in the Mirror" in Tomb Raid, the investigation of bronze mirrors raises a big question about the rise and fall of history. From "The Grape Mirror of the Hippocampus" in the Han Dynasty, from the Western Regions, "Imagine how many cymbals were released by the Han people". Tang people are not weak. Zhaoling in Chang 'an is "carved with horses and ostriches with arrows", which is unprecedented. From the Song Dynasty to the Republic of China, the national strength gradually declined. Generally speaking, "whenever I meet something foreign, I feel as if he is coming to catch me, pushing away, fearing, shrinking, escaping and shaking into a ball", "the quintessence of Chinese culture has become the treasure of kings and slaves." Thus, it is concluded that "strong men don't have to consider what is edible food", while weak people "have many taboos", which is related to the rise and fall of the country's destiny. In Zhuntan, The Story of Morning Cool is devoted to good people, thinking of good and bad foreign works, hoping to write a good and bad "human history" and the truth about Su Wu, Kongming, Wang Mang, Xuanzang and Wang Anshi, including Zhang et al. Therefore, according to the records of Zhang's murder in Documentary Evidence and other books, it is pointed out that Zhang was murdered with ulterior motives. He didn't kill people at first, and when there was only one way to go, he began to kill people. Mr. Lu Xun said: "Zhang's behavior seems strange at first glance, but it is actually very common." . This is determined by his nature. Strangely, those who were killed with their heads stretched out did not resist, but wanted to be slaves of the Qing Dynasty. What Lu Xun saw through was the cowardice of China people's souls. In the article Qingming in Lace Literature, it is pointed out that "going to a grave can really lead to national subjugation and national salvation" and that "digging a grave has such a big relationship, so it is certainly unacceptable", so he casually quoted Ba Siba, a Buddhist in the Yuan Dynasty, convinced of the benefits of digging a grave, and dug up Song Ling, "We should bury human bones together with pig and dog bones to make the Song Dynasty miserable", and Cao Cao set up a "touch gold captain" to rob the grave, fearing that it would be buried after his death. All of the above shows that Lu Xun is good at turning decay into magic, seeing clearly the origin of "China's soul" from the "antique" that people think is normal in reality, and "Lu Xiao became a successful drinker", which is vivid and profound. And we see how vigorous the essay "Northerners and Southerners" is. This paper originates from the discussion between "Beijing School" and "Shanghai School". The purpose of Lu Xun's writing this article is to let the "Beijing School" literati catch up and not talk big. I didn't finish my thoughts, but I thought of the traditional idea that "northerners look down on southerners" and wrote the article "northerners and southerners" Lu Xun pointed out: "Northerners look down on southerners" and don't treat southerners as the same kind because: "Traditionally, intruders came from the north, first conquered the north of China, and then brought northerners to the south, so southerners were also conquered in the eyes of northerners." This prejudice lasted until the Qing Dynasty, and in the 1930s, "it still had repercussions". Lu Xun's eyes lit up, and from the confusing historical and practical facts, he made a relaxed historical investigation on "northerners look down on southerners", and the evidence solved a big mystery with certainty.

All these tell us that the "classical feelings" revealed by Lu Xun's "inheritance" and "choice" have quite profound power. We can see this amazing performance in most of his essays. This tells us how important it is to learn more about the history of China and the culture of China.

Create a new Sect, not a new Sect.

The establishment of a new sect is another important manifestation of Lu Xun's "classical feelings". In this respect, it is more original.

Lu Xun said: "If you want to make progress, you must always make new decisions from time to time, or at least learn from foreign countries. If all kinds of scruples, caution and nagging offend your ancestors, then you are just like Yi Di. If you walk on thin ice all your life, how can you make good things? " ("Tomb Raider, Look in the Mirror")

Luxun is unrestrained and reckless, and has contributed two collections of essays, Weeds Morning Flowers, which are hard to surpass so far, as well as many exquisite essays with profound thoughts, exquisite art and infinite charm, such as In Memory of Liu Hezhen, In Memory of Forgetting, Ode to the Night and My First Teacher.

A "Wild Grass" is the artistic crystallization of "adopting foreign good rules and giving full play to them", which is more "full". He used the symbolic brushwork of Baudelaire's and Turgenev's prose poems, and took "small feelings" as the carrier of "concreteness" to create "miserable white flowers" on the edge of lazy hell. He wants to "witness this bush of weeds when friends and enemies, people and beasts, lovers and non-lovers, light and darkness, life and death, past and future" (the inscription of weeds), in order to achieve a far-reaching goal. Weeds is also the product of China's "choice" inheritance and "creating a new situation". When he talked about Weeds in the article Three Idle Roads, he said: "Now the world is still a place where kings are easy to see and kids are hard to find." It is aimed at "lazy hell" that should be destroyed, and still carries out his consistent proposition, which runs through all his "philosophies", that is, "I love my weeds, but I hate the ground decorated with weeds", so as to reveal the truth of life in "old China". He "wants the fire to run underground and rush; Once the lava is ejected, it will burn all the weeds and trees, thus burning this hypocritical ground decorated with weeds. He believes that this hell must be thrown away. He gave "hope" to young people, hoping that they would get rid of negativity, using "My heart was full of blood songs: blood and iron, fire and poison, recovery and revenge" and "using the shield of hope to resist the attack of empty night". What he appreciates is "revenge" of "naked, holding a sharp knife against the vast wilderness" and "forever immersed in the joy of life flying", rather than the dry and boring (revenge) boredom. He wants to show the ugly face of people and ghosts with anger and fire. He admired "such a warrior", raised his spear, walked into the void, uncovered the despicable trick of "soft knife" that kills people without seeing blood, and told "those who have all kinds of flags on their heads and embroidered with all kinds of good names: philanthropists, scholars, scribes, elders, young people, elegant people, gentlemen ...". Their heads are covered with all kinds of coats and embroidered with all kinds of beautiful patterns: knowledge, morality, national quintessence, public opinion, logic, justice, oriental civilization ... ",and they are right in their hearts. Therefore, his painstaking thoughts on Chinese and foreign history and the reality of China are condensed in Weeds. He used myths, legends and traditional images to create a brand-new artistic world with the help of ideals, fantasies, dreams, symbols and transformations. This is a unique and poetic art, and it is a more profound art of "restoring ancient ways with the present, not establishing new sects".

This point is even more incisive in Flowers in the Morning. He absorbed the latest achievements of Chinese and foreign cultural studies, and used the viewpoints of ethnology, folklore and history to combine culture and customs, nationality and region, environment and psychology, history and reality. With joy and love, he merged into his reminiscence of the past, which made this collection of essays with deep feelings and unique cultural character shine forever.

In "Morning Flowers Pick Up in the Evening", we saw a big world in a small corner. "A Chang and Shan Hai Jing" is a profound experience of a mother's love that is often natural and simple, and at the same time, it also allows us to appreciate the heavy literary and historical charm in Lu Xun's works. What kind of surprises and happiness Lu Xun brought him when he was a child: a man with a face and a beast's heart, a hydra, a cow with one foot, Di Jiang like a bag, and a thriving field with no head but "the chest as the eye and the navel as the mouth". "Twenty-four Filial Pieties" is also a powerful work of "be creative, don't start new sects". This work closely links reality with history, ancient and modern, Chinese and foreign, and does whatever you want. First of all, curse "anyone who tries to kill the vernacular should perish!" Beijingers use spoken words such as "beard" or "beard" to scare children, pointing out that the pernicious influence of those who hinder oral English is much more harmful than the steaming death of children by "bearded" Ma Shumou recorded in Talk. The story of rewarding the good and punishing the evil was painted in the Illustration of Yin Wen, Emperor of Wen Chang, and Biography of Li Yuchao, which I was most interested in when I was a child. I think that "it is extremely difficult to be a man or a ghost in China's world". I also contacted that it is time to talk about "the rule of gossip" and "the consistency of words and deeds". I just quoted Khabarov's warning to Arzhba Suifu's suicide. After such preparation, I wrote "Twenty-four Filial Piety Pictures", saying dozens of times that it is difficult to be a dutiful son, and I will fall into fear and despair of being buried first by my family. It is very powerful and profound to expose the cruelty of old morality in this way. Among them, discrimination and thinking run through, citing the record of Lao Laizi's closeness to human feelings in Shi Jueshou's Biography of Filial Piety, and the record of Liu Xiang's Biography of Filial Piety that the Guo family dug up a golden pot when they were buried, but it was not buried alive, indicating that Twenty-four Filial Piety was fabricated by Confucian scholars to deceive people and was used to destroy children's hearts. This is the landing declaration of criticizing feudal consciousness. The Five Classics Society, From Herb Garden to Three Ponds and the Notes are all his childhood experiences, but they all examine, protest and criticize the old morality, ethics and system that destroyed children's nature in the sense of folklore and folklore. An "impermanence" and an "afterword" are sometimes realistic, sometimes historical, sometimes legendary and sometimes mythical. In Impermanence, Lu Xun corresponds the "impermanence of life" of distorting axioms with the "impermanence of life" of justice and affection in the underworld, and uses the records of folklore, jade calendar biography and Tao Anmeng to describe the "impermanence of life" of various underworld places related to human emotions. The "white", lively and humorous, the "white impermanence" with a broken banana fan in his hand, the "death impermanence" with a black face and black clothes, and the "I'm afraid of you, an iron wall! I'm afraid of you, royalty! " His eyebrows are as black as paint. The performances of "This ghost is human, rational and affectionate, terrible and lovely and impermanent" and "sending impermanence" and "walking impermanence" make us think deeply and enjoy it, and also teach us a lot of knowledge of culturology and folklore. In the postscript, Lu Xun made a textual research on impermanence. Mr. Lu Xun said: "It is very novel and extremely cheap to study this kind of knowledge with the" three souls and seven souls ". Just this article, we can also see the profundity and remoteness of his views. Its reading range is amazing. This is also one of the main reasons why it is still difficult for people today to surpass flowers in the morning and evening.

"Weeds Morning Flowers" is based on the "classical feelings" of China culture, with profound charm and distinctive personality.

A brief conclusion

It should be noted that Lu Xun's "classical feelings" are flesh and blood integrated into his creation, not external or deliberate.

This has given us profound enlightenment and profound lessons. This profound revelation is that we must have a profound knowledge and understanding of China culture, so that we can have a profound understanding of the "Soul of China", grasp the internal details of national culture and national psychology in the world, have profound, broad, elegant and distant feelings in creation, and produce excellent art that truly surpasses our predecessors.

This profound lesson is that without "learning is all-encompassing", extensive knowledge and profound knowledge, it is impossible to create a masterpiece that surpasses the predecessors.

Hefei 2004.11-12.