Jin Sheng actually hadn't read Lu Xun, and he never read Qian Yongquan's twenty-volume "The Complete Works of Lu Xun" in the bookcase. I was bored that day, and I didn't have Qiong Yao at hand, so I casually smoked the first volume of "The Complete Works of Lu Xun", opened it and took a look, and the article I turned to was "Speaking of Beards", and I felt that Lu Xun's method of dealing with was a clever plan, so I learned and used it.

Qian Yongquan learned that he had made a lot of gains just by reading Lu Xun, so what about so many Qiong Yao he had watched? How dangerous it must be! This time it was Qian Yongquan's turn to keep quiet.

Lao Yu listened to the two talking about Lu Xun, and remembered a book he read recently, the name of which was "Qian Zhongshu and His Times":

One of the articles is entitled "Four Questions on the Study of Qian Zhongshu".

The article said: "Many people who study modern history have noticed a phenomenon, that is, Lu Xun is rarely mentioned in Qian Zhongshu's articles, and Qian Zhongshu does not mention Lu Xun, which is not a matter of accidental habit, but a conscious choice. Since Qian Zhongshu was reluctant to mention Lu Xun in all his writings, researchers always had to find out why. Li Guotao wrote in "Qian Zhongshu's Essays on Lu Xun" that in the forties of the last century, Qian Zhongshu published a number of questions in Shanghai called "Novel Knowledge", which talked about "The History of Confucianism", Qian Zhongshu found that Wu Jingzi used a lot of old materials from the ancients, and his creativity was not the best. At the same time, Qian Zhongshu pointed out that those who talk about Wu Jingzi have a lot of reputations. Who is this neighbor? Li Guotao believes that it refers to Hu Shi and Lu Xun. The works of Hu and Lu are all famous works, and they have a great influence, and Qian Zhongshu has been allegorical, which may refer more to Lu Xun. In his later years, Qian Zhongshu avoided mentioning Lu Xun as much as possible, and when he had to mention it, he tried to say as little or nothing as possible, and the conversation was quite meaningful. Qian Zhongshu's reluctance to mention Lu Xun does not mean that he has never mentioned Lu Xun, but that he may have had his own views on the knowledge and personality of the Zhou brothers since he was young. Judging from the historical materials seen so far, Qian Zhongshu first mentioned the Zhou brothers in the "New Moon" magazine published on November 1, 1932. Qian Zhongshu published an article entitled "The New Source of China" under the pseudonym "Zhongshujun", in which Lu Xun was mentioned. Judging from common sense, it is impossible not to read Lu Xun in the era when Qian Zhongshu was studying, and this book review revealed that Qian Zhongshu read Lu Xun. Shortly after Qian Zhongshu published this review, his father, Qian Jibo's History of Modern China, was published by the Shanghai World Book Company in September 1933. This book is one of the earliest scholarly works in early Chinese history with a clear evaluation of Xin and Lu Xun. The evaluation of Lu Xun in the book is likely to be the result of the discussion between the Qian father and son. "The History of Modern China" mentions Lu Xun and says: "In terms of his style, it is built on Europeanized Chinese...... Zhou Shuren ...... with a novel The most elite crown is a self-famous family. It is likely that Lu Xun did not read Qian Jibo's book, but he only cut and pasted an article "Qian Jibo's Discussion on Lu Xun" written by "Qi Shi" in the "Da Wanbao" in the afterword of the essay "Quasi-Fengyue Talk" published in 1934, and the article has this introduction to Lu Xun: "Qian's words: There are people who imitate Owen and say Chinese, which was founded in Zhejiang Zhou Shuren's translation of Western novels, and the literal translation is still good, and the paraphrase is unfaithful. And Mo Owen is in Chinese, which is better than parrots. Mr. Qian also said, "Zhou Shuren wrote novels, Shuren is decadent, not suitable for struggle, Shuren writes, only memories of the past, and do not know the construction of the future, only to see the small self indignation, and not to benefit the people, if the people, their minds, how to pay for the people!" Mr. Qian therefore recklessly said; 'Zhou Shuren and Xu Zhimo are the right-leaners of new literature and art'. Lu Xun expressed this emotion: "This great article, except for the words of Mr. Qi Shi praised as 'unique eyes', there can be no second sentence. It's so 'critical' that even I don't want to say anything more 'decadent'. In the 84th article of the Ke'an Pavilion Zha Ji, Qian Zhongshu still holds the same position as his father on Lu Xun's view of advocating literal translation. This shows how consistent Qian Zhongshu's view is with Qian Jibo. We might as well make a bold assumption that Qian Jibo's evaluation of Xin and his writers in "A History of Modern Chinese Novels" is likely to come from Qian Zhongshu. Because in his early years, Qian Zhongshu once wrote a preface to Qian Mu's "Introduction to Chinese Studies" written by his father, so this assumption is not unreasonable. In 1956, the Chinese Academy of Sciences discussed He Qifang's "On Ah Q", which was opposed by many people because He Qifang did not analyze the characters of Lu Xun's novels from a class point of view. Qian Zhongshu agreed with He Qifang's view. Qian Zhongshu said that the spirit of Ah Q can be found in some works of ancient and modern China and foreign countries. Qian Zhongshu used the characters in works such as "The Exaggerated Soldier", "The Female Shopkeeper", and "The Outer History of Confucianism" to prove his judgment with the historical facts of the Song and Jin dynasties. Qian Zhongshu's understanding is actually not in favor of seeing the spirit of Ah Q as Lu Xun's original. This also reflects Qian Zhongshu's understanding and evaluation of Lu Xun. Xia Zhiqing mentioned Qian Zhongshu's novel "Inspiration" in "The History of Modern Chinese Novels": "The protagonist is a fool who is too famous and simply a writer, and suddenly falls ill after failing to compete for the Nobel Prize. He was sick in bed, his heart filled with resentment, and a crowd of tearful admirers surrounded him in front of his bed. In "Miscellaneous Notes on Serving Qian and Throwing Books: Two Meetings with Mr. Qian Zhongshu", Crystal recounts that when Qian Zhongshu visited the United States in 1979, he asked Qian Zhongshu a question; At that time, he suddenly found that he had forgotten to ask him about Lu Xun's impressions, so he hurriedly raised this question. Qian Zhongshu replied: "Lu Xun's short stories are very well written, but he is only suitable for writing ...... 'short-breathed' articles, not ......'long-breathing', like Ah Q is too long and should be trimmed.' On October 9, 1986, the "International Symposium on Lu Xun and Chinese and Foreign Cultures" was held in Beijing, and Qian Zhongshu, as vice president of the Chinese Academy of Social Sciences, delivered an opening speech: "Lu Xun was a great man, and the greater the person, the more aspects that could be observed. Chinese and foreign opinions, from all angles and from various points of view, can speak freely, and there is no need to bend to seek common ground. It is said that Qian Zhongshu's opening speech was "exchanged for a silent resistance." There is also a paragraph in this article that says: 'Qian Zhongshu's opinion of Lu Xun may also be related to his marriage to Yang Jiang. Qian Yang met around 1932, in the famous 'Female Teacher Trend', Yang Yinyu, the principal of the Female Normal University, who was ridiculed by Lu Xun as 'the evil pious woman on the Shanghai Ocean Field', was Yang Jiang's third aunt. Yang Jiang wrote "Memories of My Aunt" in his later years, and did not mention Lu Xun in the article, only said: 'In 1924, she became the president of Beijing Women's Normal University, and since then she has fallen into the water and become a 'water dog'. ”

Lao Yu didn't believe that Qian Zhongshu would change his likes and dislikes because Yang Yinyu was his wife and third aunt, he really didn't like Lu Xun.

Lao Yu likes Qian Zhongshu's novel "The Siege of the City" very much, but if Qian Zhongshu and Lu Xun stand on opposite sides, he will have no choice but to stand on Lu Xun's side. Qian Zhongshu thinks that Lu Xun is not suitable for writing long stories, Lao Yu's feeling is the opposite of Qian Zhongshu, regretting that Lu Xun gave tuberculosis bacteria, and his life span was too short, and he did not leave a long story for those who loved him. Lu Xun's greatest essay is not a novel, but an essay. Like throwing guns and daggers, dissecting the world and whipping into it, it is convincing. This is the height that Qian Zhongshu's cultural Kunlun is far beyond reach, and Lu Xun is Mount Everest. Qian Zhongshu implied that Lu Xun was a fool who did not deserve the Nobel Prize by writing a novel, and Lu Xun was angry and died of illness because he did not win the Nobel Prize. Lao Yu thinks that although he is writing a novel, he is still too mean and unfair. Lu Xun suffered from tuberculosis for decades, and he did not get sick and then die suddenly because he couldn't win the Nobel Prize. Lao Yu felt that with Lu Xun's era, China was poor and weak, and with the snobbery of foreigners, it was impossible for Chinese to win the Nobel Prize. Foreigners do not understand Chinese, judges who do not understand Chinese cannot appreciate the wonder of Lu Xun's article, the translation of any text, can only reach the meaning, can not convey the spirit, especially Chinese, "the heart has a little understanding", translation into English can certainly make foreigners understand what it means, but the poetry of these seven square words connected together is not expressible by any clever translation with any brilliant pen. This is also one of the reasons why Lu Xun could not win the Nobel Prize. Only after China is strong will the Chinese have a chance to win the Nobel Prize. In a sense, the Nobel Prize is awarded to a powerful China, not to a Chinese writer. The Nobel Prize is more of a political prize than an award. Lao Yu felt that there should not be a world first, and the Nobel Prize was not the world's first award. Because there is no first in literature, there is no second in martial arts. No writer dares to pat his chest and say that his articles are the best in the world, but every Olympic champion, without their selfies, the whole world knows that they are the best in the world. What's more, people's hobbies are different, radish greens, bird's nest shark fin, the taste is very different. Those who write pure look down on those who write martial arts romances, thinking that their works are vulgar and not elegant. And it is this martial arts romance that is considered to be unbearable, how many people are addicted to it, if they are the Nobel Prize judges, those who like martial arts will definitely comment on Jin Yong, and those who like romance will definitely comment on Qiong Yao. There was a Nobel Prize judge, Lao Yu, who forgot his old name, and he said: "The Nobel Prize is that 18 people in a small Nordic country think it is good, and that's it." Lao Yu felt that this was right.

Someone once said to Lao Yu that his love for Lu Xun was poisoned and was brainwashed in a specific era, and Lao Yu scoffed at this. The ideology of a particular era, in the words of former Singaporean Prime Minister Lee Kuan Yew, is to paint on tiles, and then it will rain and wash the paintings without leaving a trace.