Left Union Leader

In February of the 19th year of the Republic of China (1930), the Great Alliance of the Chinese Freedom Movement was established and was one of the initiators. On March 2, he attended the inaugural meeting of the China ZY Writers Union, was elected as a standing member, and gave a speech on "Opinions on the ZY Writers Union".

On January 20, the twentieth year of the Republic of China (1931), Roushi was arrested, and Lu Xun took refuge in his apartment. On the 28th, he returned to his old apartment.

On January 29, the 21st year of the Republic of China (1932), he was in the line of fire in the face of war. The next day, I took refuge in the Uchiyama bookstore. On 6 February, he was escorted by a friend of the Uchiyama Bookstore to the Uchiyama branch of the British Concession for temporary refuge. Together with Ai Qing and others, he initiated the "Spring Land Art Research Institute".

In January of the 22nd year of the Republic of China (1933), Cai Yuanpei was invited to join the "Civil Rights Protection League" and was promoted as an executive member. On February 17, Cai Yuanpei was invited to the SQL house to welcome George Bernard Shaw. "For the Remembrance of Forgetting" is a nostalgic memory of Roushi.

In January of the 23rd year of the Republic of China (1934), the "Peking Notebook" co-edited with Zheng Zhenduo was published. In May, the preface of the woodcut "Jade Collection" was published.

In February of the 24th year of the Republic of China (1935), he began to translate Gogol's "Dead Souls". In June, the "New Literature Series: Two Novels" was compiled and a long preface was made.

In January of the 25th year of the Republic of China (1936), severe pain occurred in the shoulders and ribs, and the last innovative work "New Story" was published. In February, he began to translate the second part of "Dead Souls". On May 15, the doctor diagnosed stomach disease, and the fever did not heal, and on May 31, Ms. Smedley referred Dr. Deng from the United States to diagnose it, and the situation was not optimistic. In June, his health improved slightly, and Lu Xun and the people around him thought that "Mr. Lu Xun is better". On October 17, the old illness relapsed, and on the 18th, the disease attacked before dawn, and the breath was incessant.

The character dies

He died at 5:25 a.m. on October 19, 1936.

These are Mr. Lu Xun's introductions, but since we already know Mr. Lu Xun's introduction, let's continue to learn about his family. (I'm sorry, I'm sorry, but there is something to do today, please forgive me.) ）

Family members

Zhou Jiefu: Lu Xun's grandfather (1838-1904), his real name was Zhifu, and later changed his name to Fuqing. Born in Hanlin, he was exiled to Renzhi County, Jinxi County, Jiangxi, and was later imprisoned for the Kechang case, which made the Zhou family begin to decline. Zhou Jiefu's "advocacy and practice of free reading" opened a gap for Lu Xun "in the closed system of traditional education". [62-63] [64-65]

Jiang: Lu Xun's step-grandmother (1842-1910), Zhou Jiefu's stepwife, Zhou Boyi's stepmother, Lu Xun personally handled her funeral when she died, she was humorous, often told Lu Xun folk tales, gave him the inspiration of folk culture, and her forbearance character also left a lifelong 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), his real name is Zhou Fengyi, and his name is Boyi. He was open-minded and a sympathizer of the Westernization movement. Later, he was plagued by illness, and his illness made Lu Xun taste the hardships and hardships of life.

He: 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 resolute, and open-minded, which had a great influence on Lu Xun.

Zhou Zuoren: Lu Xun's second brother (1885-1967), formerly known as Zhou Yaoshou, is a famous modern essayist.

Duangu: Lu Xun's younger sister, died before she 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, was a biologist.

Zhou Chunshou: Lu Xun's fourth brother (1892-1898), died of fever at the age of 6.

Zhu An: Lu Xun's legal wife (1878-1947), a native of Dingjia Lane, Shanyin, Zhejiang Province (now Dingxiang Lane, Shaoxing City), married 25-year-old Lu Xun in 1906 at the age of 28. She and Lu Xun have been a nominal couple for 20 years, but they live a completely single 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 a student of Lu Xun, and she took care of Lu Xun's life in the second half of his life.

Zhou Haiying: The son of Lu Xun and Xu Guangping (1929-2011), a radio expert.

Emotional experiences

Brotherly feud

In Lu Xun's personal life, there were two things that hit him hard. One is his married life, and the other is the discord with his younger brother Zhou Zuoren. Lu Xun and Zhou Zuoren have been reluctant to talk about this matter to others, which has made this matter more and more confusing, and has become the most incomprehensible event in the history of modern Chinese literature. Over the years, the research community has formed three views on this: "economic theory", "disrespectful theory", and "family dispute theory". The first theory, the "economic theory", believes that Zhou Zuoren's wife, Yu Tai Nobuko, spends too much money, which makes the family often unable to make ends meet, and finally makes the brothers have a rift. The second theory is that Lu Xun had a personal affair with Xinzi, which led to the discord between the Zhou brothers. The third theory is that it was the dissatisfaction of the Zhou family with Xinzi, which led to the tension between the brothers. As far as the denial that the "brotherly discord" is due to the ideological differences between the two men, these three views are the same. But other than that, there has been little progress in academic research, and the three perspectives are not really convincing to readers.

Marital love

Lu Xun's life, there have been marriage or love relations with two women, one is when he was 26 years old, when he returned to Shaoxing from Japan to marry Ms. Zhu An of Shanyin under the auspices of his mother Lu Rui; Lu Xun married Zhu An until his death, and did not dissolve this marriage relationship with her (Lu Xun knew that once he divorced his wife, Zhu An would encounter death or inhuman encounters, so he did not divorce), Lu Xun was away, Zhu An has always taken care of Lu Xun's mother's life, and has never complained; second, when he was 47 years old, he arrived in Shanghai from Guangzhou, that is, he lived with Xu Guangping of Panyu, who had followed him for a long time。 After Lu Xun's death, Ms. Zhu An, like Comrade Xu Guangping, maintained normal contact with the society as Lu Xun's bereaved family for more than ten years until her death.

Now that we even know about Lu Xun's family, then we can almost start to understand Lu Xun's works.

"The Scream" is a collection of short stories by the modern writer Lu Xun, including 14 short stories written by Lu Xun from 1918 to 1922, published by the Beijing Xinchao Society in 1923, and now compiled into the first volume of "The Complete Works of Lu Xun". The collection of novels realistically depicts the social life from the Xinhai Revolution to the May Fourth Movement, starting from revolutionary democracy, holding the enlightenment purpose and humanitarian spirit, revealing all kinds of deep-seated social contradictions, profoundly analyzing and completely negating the old Chinese system and some outdated traditional concepts, showing a strong sense of distress for the survival of the nation and a strong hope for social change.

"The Scream" is a sign of the beginning and maturity of modern Chinese fiction, and a precedent for modern realist literature. Through realism, symbolism, romanticism and other techniques, the work vividly portrays a number of immortal artistic images such as madmen, Kong Yiji, and Ah Q with expressive brushstrokes and artistic techniques of "painting eyes" and "writing souls", profoundly reflecting the current situation of Chinese social life from the end of the 19th century to the 20s of the 20th century, effectively exposing and lashing out at the old feudal evil forces, and expressing the author's desire for change, shouting for the times, and hoping to awaken the thoughts of the people. It has established Lu Xun's position in the history of modern Chinese literature and modern culture. In 1985, of the 50-volume "The World's Highest Masterpiece" published in Japan, only "The Scream" and "The Analects" were included in China; in June 1999, "The Scream" was selected by Asia Weekly as one of the top 100 Chinese novels of the 20th century.

The collection of novels "The Scream" includes 14 novels, including "Diary of a Madman", "Kong Yiji", "Medicine", "The True Story of Ah Q" and "Hometown", reflecting the appearance of China's ancient rural villages and towns from before and after the Xinhai Revolution to the "May Fourth" period; it depicts the social reality of China before and after the Xinhai Revolution to the "May Fourth" period, sums up the historical lessons and lessons of the Xinhai Revolution, profoundly exposes the nature and hypocrisy of the feudal patriarchal system and feudal etiquette and cannibalism, painfully dissects the silent national soul of China, and criticizes the inferior nature of the people.

"Diary of a Madman" tells the story of a "madman" in the first person, who is afraid of everyone's eyes and always feels that people want to harm him and eat him. The doctor treated him and told him to "recuperate", and he thought that he was fattening up so that he could eat more meat. He remembered that his eldest brother had told him about "eating with a child" and "eating meat from the skin", and then remembered that when the "sister" died, the eldest brother advised his mother not to cry, so he thought that the sister was eaten by the eldest brother. The more the "madman" rebelled against the "cannibalism", the more he was considered a "madman", and when he was completely disappointed in the transformation of his surroundings, he also "recovered" and went to work as an alternate officer somewhere. The "madman" in the novel is actually an awakened intellectual figure, surrounded by people whose souls have been eroded by feudal etiquette, and what he fears and rebels against is the feudal tradition of cannibalism.

"Kong Yiji" tells the tragic experience of a scholar who was not admitted to Xiucai. The protagonist Kong Yiji is a kind-hearted person, but under the poison of the imperial examination system, he is incapable of nothing except for the mouth full of "Zhihu Ye", and he is destitute, which has become a material that people make fun of. Forced by life, he occasionally did some petty theft, and finally broke his leg and died silently under the torture of life. Through the vivid description of the characters' personalities and encounters, the novel exposes the decay of the feudal imperial examination system and lashes out at the damage of feudal education to the minds of intellectuals.

"Medicine" is a major and thought-provoking theme in modern history. The work depicts the story of Hua Laozhuan using the blood of Xia Yu, a revolutionary killed by the rulers, to dip it into "human blood steamed buns" to treat his son's illness. The stark contrast between a revolutionary who sacrificed generously for the liberation of the people, but whose blood was used by the people as a cure, forcefully revealed the serious estrangement between the old democratic revolution and the people, and exposed the numbness and ignorance caused by the long-term feudal rule to the people.

In "Tomorrow", Bao'er, the son of the fourth sister-in-law, is sick, and the fourth sister-in-law seeks medical treatment for him, hoping that Bao'er's illness will be cured "tomorrow". But "tomorrow" has arrived, and the disease has ruthlessly taken Bao'er's life. What tomorrow is, whether it is hope or despair, the fourth sister-in-law does not know, but the loneliness and pain after losing Bao'er are real. (There is no manuscript saved, water is water)