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Volume 3: A blow of destiny, the king appears Chapter 99: The old tune has been sung, and the flowers are picked up in the morning and evening

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    Cooperated with two section chiefs Qian Daosun and Xu Shoushang on the design of the national emblem of the Republic of China, and wrote the "Instructions for the National Emblem of the State Council (for the full text, please see the 2005 edition of "The Complete Works of Lu Xun"); and designed the school emblem of Peking University at that time, which was named Peking University.  Fine art fonts; in charge of graphic information) business: supervising the Beijing Library (later Beijing Library, now the National Library of China), etc.  The Literature Museum remained in office until Zhang Shizhao, the then director-general of the Ministry of Education, was dismissed.

    For this reason, Lu Xun filed an administrative lawsuit with the Pingzheng Yuan of the Republic of China and won the lawsuit. He could be reinstated according to law, but he chose to leave the government system.

    After his friend Yi Peiji took over as the director-general of education, he signed an order to reinstate Zhou Shuren, the minister of education, and issued a new professor appointment letter as the president of National Beijing Women's Normal University. After the March 18th massacre in 1926, Yi Peiji and others were all dismissed by the Republic of China.  Duan Qirui, the interim ruler, is wanted (Note: Lu Xun is not wanted).

    When Cai Yuanpei reformed the Ministry of Education into a university, Lu Xun was hired by Cai Yuanpei as a special writer for the university, with a monthly salary of 300 yuan.

    After the university was changed back to the Ministry of Education, the name of this salary was changed to the Ministry of Education translation fee, and it was still paid on a monthly basis.  (From 1932, Lu Xun no longer served as a special translator for the Ministry of Education.)

    In 1926, went south to Xiamen University as a professor of liberal arts.  A few months later, in 1927, the 46-year-old Lu Xun left Xiamen and arrived in Guangzhou on the 18th. On the morning of the 19th, accompanied by Sun Fuyuan and Xu Guangping, he moved to Sun Yat-sen as the director and academic director of the department, and lived with his 29-year-old student Xu Guangping.

    At that time, Zhu Jiahua, the president of Sun Yat-sen University, invited Lu Xun to the school.  Lu Xun's diary: On the evening of January 26, he went to Liu Xian's apartment for dinner; on the night of February 1 (New Year's Eve), he went to Liu Xian's apartment for dinner. Mr. Liu invited Lu Xun to have New Year's Eve dinner together.  Soon after, Gu Jiegang was hired to come to the school. Gu became a research professor just six years after graduating from Peking University. Lu Xun was very unconvinced and claimed that he would leave as long as Gu came.  On February 18th and 19th, I went to Hong Kong to give two lectures entitled Silent China and The Old Tune Has Been Sung at the YMCA Auditorium in Sheung Wan.

    1927.  Lu Xun resigned from Sun Yat-sen University and arrived in Shanghai. For 10 years, he lived in the cross-border road construction area in the North District of the Shanghai Public Concession (the so-called semi-concession refers to the Lu Xun Park area in the north of Hongkou District today). There was a special political environment to protect him.  Writing was protected from persecution, as well as his many Japanese friends.

    Since 1930, he has successively joined the China Freedom Movement Alliance, the Left-wing Writers Alliance and the China Civil Rights Protection Alliance.  However, Lu Xun had many ideological conflicts with the leaders of the Left Alliance, so some people thought that he was a free writer.

    Between 1927 and 1936, Lu Xun wrote many reminiscence essays and a large number of ideological essays, and translated and introduced foreign progressive literary works.

    During Lu Xun¡¯s stay in Shanghai.  Have contacts with Soong Ching Ling and Chen Geng.  There was a conflict between the literary group chaired by Lu Xun and the literary groups chaired by Guo Moruo and Yu Dafu.

    Lu Xun supported and rewarded literary young people, including Rou Shi, Bai Mang, Xiao Jun, Xiao Hong, etc., and also had a debate with Zhang Chunqiao, whose pseudonym was Dick.

    Since 1931, Lu Xun vigorously advocated woodblock printmaking, thus beginning the history of printmaking in China.

    1933.  Lu Xun wrote "For the Memory of Forgotten" in memory of Rou Shi, Hu Yepin and other five members of the Left Alliance who were hunted down by the Kuomintang.

    ** Propaganda Minister Li Lisan wrote to Lu Xun, asking him to scold Chiang Kai-shek by his real name. Lu Xun refused and said: Articles are easy to write but you can't live in Shanghai.

    In 1936, Lu Xun died of tuberculosis in Shanghai at the age of 55.  News of his death attracted the attention of the whole of China. Thousands of people in Shanghai spontaneously held an unprecedented grand funeral for a literary and artistic figure. The public representatives covered his coffin with a white flag with the soul of the nation written on it, causing a sensation.

    There were a total of 12 coffin bearers at the first funeral ceremony from Wanguo Funeral Home.  Divided into two rows on the left and right, the first two are Ba Jin and Lu Digen, followed by Hu Feng and Cao Bai; Huang Yuan and Zhang Tianyi; Jin Yi and Yao Ke; Wu Langxi and Zhou Wen; Xiao Jun (Tian Jun)  ), Li Liewen.  Buried in Shanghai Hongqiao Cemetery of All Nations.

    In 1956, Lu Xun¡¯s tomb was moved and rebuilt in Shanghai Hongkou Park.

    There are 7 items in Lu Xun¡¯s will.  Among them, the first few articles explain that the funeral should be simple, and the fifth article explains that if the young child Zhou Haiying has no talent, he can find some small things to make a living, and he must not become a short-term writer or artist.  The sixth rule is not to take the things promised by others seriously, and the last rule is never to get close to hurt others.  But those who oppose retaliation and advocate tolerance.

    There are also some controversies about Lu Xun¡¯s death.  Lu Xun's son Zhou Haiying once wrote an article, suspecting that the Japanese doctor Sudo Issan whom he trusted had deliberately misdiagnosed him, resulting in his early death without normal treatment. It was later confirmed that Lu Xun's real cause of death should be caused by tuberculosis and emphysema.  of severe pneumothorax.

    Lu Xun¡¯s works have a wide range of themes, diverse and flexible forms, and distinctive and unique styles.  During his 55 years of life, he created works in the genres of novels, essays, prose, poetry, etc.

    There is "The Complete Works of Lu Xun" in twenty volumes with more than 10 million words handed down to the world.  Founded in the People's Republic of China??, many of his works have been selected into Chinese language textbooks for primary and secondary schools, which have had a profound impact on the language and literature of New China.

    Lu Xun started his career by writing novels.

    "Diary of a Madman" published in "New Youth" magazine in 1918 is the pioneer of modern Chinese vernacular novels and has far-reaching influence.

    After that, Lu Xun published many short stories in succession, which were later compiled into two short story collections "Scream" and "Wandering", published in 1923 and 1926 respectively.

    With the changes in the social situation, Lu Xun gradually gave up the planned novel creation and turned to essay writing.  Lu Xun's later novels are collected into "New Stories".

    Lu Xun¡¯s novels are not many in number, but they are of great significance and there are many famous ones.  His early novels often did not have bizarre and tortuous plots. Instead, they focused on the lives of the lower class people in the late Qing Dynasty and the early Republic of China. They paid attention to detailed descriptions, and were able to vividly depict characters in line drawings and explore subtle psychological changes in every detail.

    It mainly expresses the numbness and ignorance of the people at the bottom and the hardship of life.

    Among the misfortunes of my sorry for myself, my materials are exposed to the disease of the disease and causing the attention of the healing.  His later works used historical allusions to reflect real life, and his style was calm, humorous and free, which was very different from his earlier works.

    Representative works include "The True Story of Ah Q", "Blessing", "Kong Yiji", "Hometown", etc.  The protagonists Ah Q, Sister Xianglin, Kong Yiji, Runtu, etc. are well known to Chinese women and children.

    Lu Xun pioneered a new literary style, essays, which was mainly based on theory and flexible in form, and carried it forward.  His essays are extremely numerous, with a wide range of themes, vivid images, sharp arguments, and changeable writing styles. He is known as the dagger and the spear thrower (the theory of dagger thrower and spear thrower is based on "The Crisis of Essays" in Lu Xun's "Nanqianbei Diao Ji"), and is deeply rooted in the world.  It reveals the problems in all aspects of Chinese society at that time.  His representative works include "Two Hearts Collection" and "Huagai Collection".

    Lu Xun's prose also plays an important role, and his main works are collected in "Morning Flowers Picked at Dusk" and "Wild Grass".  The former mainly focuses on recalling childhood memories, which is easy to understand, interesting and lively.  Representative works include "Cong" and so on.

    "Weeds" uses a Nietzschean prose poem to express critical reflections on society and life, reflecting the author's pessimistic mood of nihilism at the time.

    The language is colorful and cold, the imagery is unique and suggestive, and the artistic conception is dark and profound.  It will have a certain influence on the future development of Chinese vernacular prose poetry.
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