Casting Sword: Revenge in Luxun's Works

"Revenge requires digging two graves, one for the enemy and one for yourself!"

When I was at school, writing novels was very popular. Some students once wrote many jokes, but they didn't pay much attention to them. They just embedded some fashionable homophones with allusions for fun.

It seems that it is human nature to love telling stories. Just telling stories can't take into account how many versions are adapted to local conditions.

New stories, new stories, new wine in old bottles, and new ones keep pace with the times.

Mr. Wang is well aware of the truth that "joking is not nonsense". He combines extensive examination of literature with fictional imagination to turn admirers into ordinary people and tell them in people's homes, which is full of fun and the truth is revealed.

Of the eight new stories, I like to watch Water Control and Casting Sword best. The humor of water control is both spicy and sharp; Casting swords is close to martial arts, and there is a strange atmosphere everywhere.

Lu Xun said in a letter to Li Liewen:

"The new story is really annoying. Apart from casting swords, it is hard to avoid oil."

Casting Sword tells the story of revenge, which is taken from the tomb of Three Kings in Ji Shen, Su.

Revenge in the traditional sense is a direct and straightforward means of fighting violence with violence. Influenced by the Confucian culture "human relations", revenge for private affairs often becomes a matter of course.

According to the Book of Rites:

"Xia Zi asked Confucius,' What are your parents' enemies?' Confucius said,' Sleeping on a pillow is not an official, and you are blessed with the world'. "

Confucius said that the enmity between parents should be buried in the pillow and never forgotten. When Meichi was born, the revenge plan was already arranged. It can also be said that the eyebrow ruler itself was born for revenge.

"After giving birth to a child, take good care of it. When you are an adult, give him this male sword and teach him to cut it around the king's neck to avenge me! "

The father of the eyebrow ruler was killed by the king, and this hatred is inevitable. And this is exactly what he is difficult to accomplish, and his soft temperament has become his own barrier.

The eyebrow ruler is obsessed with fatherly love and takes the road of revenge. He vowed to be a killer, but the cruelty of the killer and the love in his heart became irreconcilable contradictions. In order to realize his love for his father, he must first destroy his love.

This revenge has become a tear between love and hate, and what stands in front of revenge is the choice between love and hate. Revenge makes people's love impossible. Once love is lost, people are no longer people.

Revenge, to dig two graves, one for the enemy and one for yourself!

If you want revenge, you must kill yourself first, and get back at yourself first!

After the first assassination failure, it is obvious that the ruler Mei has also realized what his mother said, "Can you do great things with your temperament?" This is also a conscious understanding of life. But flexibility is his nature, and his nature is hard to change.

The appearance of banquet is the inevitable result of the unity of love and hate.

Feast pride is the guide and practitioner of revenge, and he is a self born out of the pure concept of a complete individual. Ruler Mei presented his head and sword to the banquet.

His suicide was the beginning of real revenge, but it was also the end of hatred.

Hatred has its own meaning only if it is attached to people. No matter whether the revenge is successful or not, the hatred for him and the king no longer exists. True revenge is no longer because of hatred, but because of justice.

Then this revenge can no longer be called revenge, but more like a revolution of good and evil.

This self-defeating "revolution" has completed the sublimation of old-fashioned revenge because of the self-defeating ruler.

Generally speaking, I tend to think that The Banquet is a projection of Lu Xun himself, and I prefer that The Banquet is a pure concept.

The banquet came from Wenwen Township, and Wenwen was nothing. He is not a real person, and it is hard to find such a person in the world. He is Lu Xun's sustenance for "there is no purity in the world".

Compared with The Banquet, the dilemma faced by the brow rulers is closer to the real situation of Lu Xun.

Casting Sword was written about half a year after the March 18th Massacre. Lu Xun witnessed the tyranny and cruelty of feudal warlords. This bloody lesson made him think about the importance of violent revolution. Lu Xun thought it was necessary to "draw a sword and pay for blood with blood".

However, the reality is "knowing that you can't do it", and most people in the world are numb and wait and see. It is impossible to expect them to consciously "operate on themselves", and it is even more futile to expect them to practice the self-sacrificing revolution.

Lu Xun used an "iron house" to compare the current situation in China at that time, and thought it was unnecessary to wake those who were sleeping. This is actually a very contradictory mentality: strong hope and enthusiasm under extreme disappointment with reality.

The world needs the guidance of such a pure character as Yan Ao, and the world also needs such pure strength to practice.

The Night Banquet is Lu Xun's sustenance and what Lu Xun wants to do: he is a pure practitioner who takes the lead in setting an example and would rather sacrifice himself than fulfill others; It's a song of "One head worries, no millions of husbands".

This is not revenge, this is justice's crusade against evil and a revolution between good and evil. As Mr. Lu Xun thought, "revenge is not revenge, but revenge itself should have justice", as the article "Banquet Biao" said:

"Loyalty, compassion, those things, which were cleaned before, have now become the capital for putting ghost debts."

From the tomb of the Three Kings to "Three heads are rotten beyond recognition", on this basis, Lu Xun continued to write the absurd drama of "Everyone distinguishes the head".

Aren't the elements of "evil" such as greed, domineering and cruelty in The King exactly the nature of human beings? Wang is also the "master" of human nature.

Yan ao killed the king and got revenge, but the society and people's behavior have not changed. If we regard this as a revolution, it also has its incompleteness.

"Casting Sword" and even "New Stories" are more literary, and the smelly and long interpretation in all aspects is far-fetched and only personal understanding. As writer Can Xue said:

"What people who are nourished by the culture of' harmony between man and nature' are most afraid of is the split of this soul, so this side of Mr. Lu Xun as a pure artist has long been covered up and distorted by some intention, and the fixed interpretation mode of Lu Xun's art has not been broken for a long time."

What kind of person is Lu Xun? As I wrote earlier, "I still have strong hopes and enthusiasm despite my extreme disappointment with reality", which is extremely difficult to achieve. Today, we still need Lu Xun, which is his value.

The world always needs pragmatic people, not condescending inaction that mocks everything, not living in a "cultural mountain" and being conceited by cultural inheritors.

The "iron house" may not be unbreakable, but after decades, this group of sleeping people have become firm revolutionaries.