Shen Fu was a .
He wrote one of the best known descriptions of everyday life during the Ch'ing Dynasty, entitled Six Records of a Floating Life.
In this text, Shen Fu describes the gentle personality of his wife, Chen Yun, and his love for her. He also chronicles the rejection of Chen Yun by her parents and her untimely death. Shen Fu was a government clerk, a "yamen" private secretary. More broadly, he also seems to have been a painter and an occasional trader or businessman, although he failed at these attempts.
2008年9月21日星期日
Shen Congwen
Shen Congwen was the pen name of a writer from the May Fourth Movement. He was known for combining the vernacular style of writing with classical Chinese writing techniques, and his writing also reflects a strong influence from western literature. He was born as Shen Yuehuan on 1902 December 28 in Fenghuang County in Hunan Province. He died on 1988 May 10 in Beijing.
Shen was initially trained for a career in the military. As a soldier in the Chinese army, he observed border fighting and the lives of the tribesmen, which would later become the subject matter of his early short fiction stories. He began writing fiction in 1922 and wrote almost continually until 1949. He taught Chinese literature at various universities during the Second Sino-Japanese War out of monetary necessity.
Originally an apolitical writer, he suffered a breakdown after the in 1949 and the subsequent restrictions on writing. He recovered by 1955, but he never again published another work of fiction. He was given a staffing post at the Palace Museum at the Forbidden City in Beijing, about which he wrote a non-fiction work in 1957. Afterwards, he also published a famous study of Chinese costume and dress.
'''' , written during the , is generally considered the best of his long fiction.
''Chundeng Ji'' and ''Heifeng Ji'' are his most important collections of short stories.
Shen was initially trained for a career in the military. As a soldier in the Chinese army, he observed border fighting and the lives of the tribesmen, which would later become the subject matter of his early short fiction stories. He began writing fiction in 1922 and wrote almost continually until 1949. He taught Chinese literature at various universities during the Second Sino-Japanese War out of monetary necessity.
Originally an apolitical writer, he suffered a breakdown after the in 1949 and the subsequent restrictions on writing. He recovered by 1955, but he never again published another work of fiction. He was given a staffing post at the Palace Museum at the Forbidden City in Beijing, about which he wrote a non-fiction work in 1957. Afterwards, he also published a famous study of Chinese costume and dress.
'''' , written during the , is generally considered the best of his long fiction.
''Chundeng Ji'' and ''Heifeng Ji'' are his most important collections of short stories.
Pu Songling
Pu Songling was a Chinese author who wrote during the Qing Dynasty.
Pu was from a poor landlord-merchant family from . Possibly he was of Mongol ancestry. At the age of nineteen, he received the xiucai degree in the civil service examination, but it was not until he was seventy-one that he received the gongsheng degree.
He spent most of his life working as a private tutor, and collecting the stories that were later published in ''Strange Stories from a Chinese Studio''. Some critics attribute the Vernacular Chinese novel ''Xingshi Yinyuan Zhuan'' to him.
Biography
Pu was from a poor landlord-merchant family from . Possibly he was of Mongol ancestry. At the age of nineteen, he received the xiucai degree in the civil service examination, but it was not until he was seventy-one that he received the gongsheng degree.
He spent most of his life working as a private tutor, and collecting the stories that were later published in ''Strange Stories from a Chinese Studio''. Some critics attribute the Vernacular Chinese novel ''Xingshi Yinyuan Zhuan'' to him.
Ma Sen
Ma Sen , Taiwanese writer, born 1932 in Shandong province.
Ma Sen is a literary critic, a writer of fiction, and a playwright. He studied film and drama in France starting in 1961, later studying Sociology at the University of British Columbia. He is now a professor at Foguang University in the Graduate Institute of Literary Studies.
See for Ma Sen's thoughts on the
Chinese literary scene circa 1991.
See for translations.
Ma Sen is a literary critic, a writer of fiction, and a playwright. He studied film and drama in France starting in 1961, later studying Sociology at the University of British Columbia. He is now a professor at Foguang University in the Graduate Institute of Literary Studies.
See for Ma Sen's thoughts on the
Chinese literary scene circa 1991.
See for translations.
Lu Xun
Lu Xun or Lu Hsün , was the pen name of Zhou Shuren is one of the major Chinese writers of the 20th century. Considered the founder of modern ''baihua'' literature, Lu Xun was a short story writer, , translator, critic and essayist. He was one of the founders of the Chinese League of Left-Wing Writers in Shanghai.
Lu Xun's works exerted a very substantial influence after the May Fourth Movement to such a point that he was lionized by the regime after 1949. Mao Zedong himself was a lifelong admirer of Lu Xun's works. Though highly sympathetic to the Chinese Communist movement, Lu Xun himself never joined the Chinese Communist Party despite being a staunch as he professed in his works.
Born in Shaoxing, Zhejiang province, Lu Xun was first named Zhou Zhangshou, then Zhou Yucai, and finally himself took the name of ''Shùrén'' , literally, "to nurture a person". He was the eldest of five brothers, three of whom reached maturity. His younger brother Zhou Zuoren, four years his junior, would become a notable writer in his own right.
The Shaoxing Zhou family was very well-educated, and his paternal grandfather Zhou Fuqing 周福清 held posts in the Hanlin Academy; Zhou's mother, née Lu, taught herself to read. However, after a case of bribery was exposed - in which Zhou Fuqing tried to procure an office for his son, Lu Xun's father, Zhou Boyi - the family fortunes declined. Zhou Fuqing was arrested and almost beheaded. Meanwhile, a young Zhou Shuren was brought up by an elderly servant Ah Chang, whom he called Chang Ma; one of Lu Xun's favorite childhood books was the ''Classic of mountains and seas''.
His father's chronic illness and eventual death during Lu Xun's adolescence, apparently from tuberculosis, persuaded Zhou to study medicine. Distrusting traditional Chinese medicine , he went abroad to pursue a medical degree at Sendai Medical Speciality School in , Japan, in 1904.
Lu Xun was educated at Jiangnan Naval Academy 江南水師學堂 , and later transferred to the School of Mines and Railways 礦路學堂 at Jiangnan Military Academy 江南陸師學堂. It was there Lu Xun had his first contacts with Western learning, especially the sciences; he studied some German and English, reading, amongst some translated books, Huxley's ''Evolution and Ethics'', J. S. Mill's ''On Liberty'', as well as novels like ''Ivanhoe'' and ''Uncle Tom's Cabin''.
On a Qing government scholarship, Lu Xun left for Japan in 1902. He first attended the ''Kobun Gakuin'' , a preparatory language school for Chinese students attending Japanese universities. His earliest essays, written in Classical Chinese, date from here. Lu also practised some jujutsu.
Lu Xun returned home briefly in 1903. Aged 22, he complied to an arranged marriage with a local gentry girl, Zhu An 朱安. Zhu, illiterate and with bound feet, was handpicked by his mother. Lu Xun possibly never consummated this marriage, although he took care of her material needs all his life.
Lu Xun left for Sendai Medical Speciality School in 1904 and gained a minor reputation there as the first foreign student of the college. At the school he struck up a close teacher-mentor relationship with lecturer Fujino 藤野嚴九郎; Lu Xun would recall his mentor respectfully and affectionately in an essay "Mr Fujino" in the memoirs in ''Dawn Dew-light Collected at Dusk''. However, in March 1906, Lu Xun abruptly terminated his pursuit of degree and left the college.
Lu Xun, in the well-known Preface to ''Nahan'', his first story collection, revealed why he gave up completing his medical education at Sendai. One day after class, one of his instructors screened a lantern slide documenting the imminent execution of an alleged Chinese spy during the Russo-Japanese War . Lu Xun was shocked by the complete apathy of the Chinese onlookers; he decided it was more important to cure his compatriots' spiritual ills rather their physical diseases.
:"At the time, I hadn't seen any of my fellow Chinese in a long time, but one day some of them showed up in a slide. One, with his hands tied behind him, was in the middle of the picture; the others were gathered around him. Physically, they were as strong and healthy as anyone could ask, but their expressions revealed all too clearly that spiritually they were calloused and numb. According to the caption, the Chinese whose hands were bound had been spying on the Japanese military for the Russians. He was about to be decapitated as a 'public example.' The other Chinese gathered around him had come to enjoy the spectacle." .
Moving to Tokyo in spring 1906, he came under the influence of scholar and philologist Zhang Taiyan and with his brother Zuoren, also on scholarship, published a translation of some East European and Russian Slavic short stories. He spent the next three years in Tokyo writing, translating the literature of those countries into Chinese.
Returning to China, Lu Xun began teaching in the middle school of his hometown and with the establishment of the republic, briefly held a post in the Ministry of Education at Beijing. Encouraged by some fellow associates, he took up teaching positions at the Peking University and Peking Women's Teachers College and began to write.
In May 1918, Lu Xun used his pen name for the first time and published the first major baihua short story, ''Kuangren Riji'' . He chose the surname Lu as it was his mother's maiden family name. Partly inspired by the Gogol short story, it was a scathing criticism of outdated Chinese traditions and feudalism which was metaphorically 'gnawing' at the Chinese like cannibalism. It immediately established him as one of the most influential writers of his day.
Another of his well-known longer stories, ''The True Story of Ah Q'' , was published in installments from 1921 to 1922. The latter would become his most famous work. Both works were included in his first short story collection ''Na Han'' or '''', published in 1923.
Between 1924 to 1926, Lu wrote his essays of ironic reminiscences in ''Zhaohua Xishi'' , published 1928, as well as the prose poem collection ''Ye Cao'' . Lu Xun also wrote many of the stories to be published in his second short story collection ''Pang Huang'' in 1926. Becoming increasingly estranged with his brother Zuoren, the stories are typically more melancholic than in his earlier collection. From 1926, after the March 18 Massacre, for supporting the students' protests which led to the incident, he went on an imposed exile to Xiamen, , then to Zhongshan University at Guangzhou with his wife Xu Guangping.
From 1927 to his death, Lu Xun shifted to the more liberal city of Shanghai, where he co-founded the Chinese League of Left-Wing Writers. Most of his essays date from this last period. Xu Guangping gave birth to a son, Haiyang, on September 27th, 1929. She was in labor with the baby for 27 hours. The child's name meant simply "Shanghai infant". His parents chose the name thinking that he could change it himself later, but he never did so. In 1930 Lu Xun's ''Zhongguo Xiaoshuo Lueshi'' was published. It is a comprehensive overview of history of Chinese fiction up till that time, drawn from Lu Xun's own lectures delivered at Peking University and would become one of the landmark books of Chinese literary criticism in the twentieth-century.
His other important works include volumes of translations — notably from Russian — discursive writings like ''Re Feng'' , and many other works such as prose essays, which number around 20 volumes or more. As a writer, Lu played an important role in the history of Chinese literature. His books were and remain highly influential and popular even today. Lu Xun's works also appear in high school textbooks in Japan. He is known to Japanese by the name Rojin .
Lu Xun was the editor of several left-wing magazines such as ''New Youth'' and ''Sprouts'' .
Because of his leanings, and of the role his works played in the subsequent history of the People's Republic of China, Lu Xun's works were banned in Taiwan until late 1980s. He was among the early supporters of the Esperanto movement in China.
By 1936, Lu Xun's lungs had been greatly weakened by tuberculosis. In March of that year, he was stricken with bronchitic asthma and a fever. The treatment for this involved draining 300 grams of fluid in the lungs through puncture. From June to August, he was again sick, and his weight dropped to only 83 pounds. He recovered some, and wrote two essays in the fall reflecting on mortality. These included "Death", and "This Too Is Life". At 3:30 AM on the morning of October 18th, the author woke with great difficulty breathing. Dr. Sudo, his physician, was summoned, and Lu Xun took injections to relieve the pain. His wife was with him throughout that night, but Lu Xun was found without a pulse at 5:11 AM the next morning, October 19th. His remains were interred in a mausoleum within in Shanghai. He was survived by his son, Haiying.
Lu Xun was a very versatile writer. He wrote using both traditional Chinese conventions and 19th century European literary forms. His style has been described in equally broad terms, conveying both "sympathetic engagement" and "ironic detachment" at different moments. His essays are often very incisive in his societal commentary, and in his stories his mastery of the vernacular language and tone make some of his literary works very hard to convey through translation. In them, he frequently treads a fine line between criticizing the follies of his characters and sympathizing with their very follies.
Lu Xun is typically regarded as the most influential Chinese writer who was associated with the May Fourth Movement. He produced harsh criticism of social problems in China, particularly in his analysis of the "Chinese national character". He has often been considered to have had leftist leanings. Called by some a "champion of common humanity," he helped bring many fellow writers to support communist thought, though he never took the step of actually joining the . It should be remarked, however, that throughout his work the individual is given more emphasis over collectivistic concerns.
Lu Xun felt that the 1911 Xinhai Revolution had been a failure. He described the operation of the as "monkey business", and in 1925 opined, "I feel the so-called Republic of China has ceased to exist. I feel that, before the revolution, I was a slave, but shortly after the revolution, I have been cheated by slaves and have become their slave". This disillusionment with politics led the author to come to the conclusion in 1927 that "revolutionary literature" alone could not bring about radical change. Rather, "revolutionary men" needed to lead a revolution using force.
Lu Xun's importance to modern Chinese literature lies in the fact that he contributed significantly to every modern literary genre except the novel during his lifetime. He wrote in a clear lucid style which was to influence many generations, in stories, prose poems and essays. Lu Xun's translations were important in a time when Western literature were seldom read, and his literary criticisms remain acute and persuasively argued.
The relationship between Lu Xun and the Communist Party of China after the author's death was a complex one. On one hand, Party leaders depicted him as "drawing the blueprint of the communist future". Mao Zedong deified him as the "chief commander of China's cultural revolution" At the same time, leaders downplayed the influence of the cosmopolitan May Fourth Movement on Lu Xun, in order to match Lu Xun with the Communist Party's support of folk literature and the common people. During the 1920s and 1930s, Lu Xun and his contemporaries often met informally for freewheeling intellectual discussions. As the Party sought more control over intellectual life in China, this type of intellectual independence was suppressed. Finally, Lu Xun's satirical and ironic writing style itself was discouraged. Mao wrote that "...the style of the essay should not simply be like Lu Xun's. we can shout at the top of our voices and have no need for veiled and round-about expressions, which are hard for the people to understand". Thus, the Communist Party both hailed Lu Xun as one of the fathers of Communism in China and suppressed the intellectual culture and style of writing that he represented.
The work of Lu Xun has also received attention outside of China. In 1986, Fredric Jameson, a prominent Marxist, cited "A Madman's Diary" as the "supreme example" of the "national allegory" form that all Third World literature takes. Gloria Davies compares Lu Xun to Nietzsche, saying that both were "trapped in the construction of a modernity which is fundamentally problematic".
* from《呐喊》''''
** 狂人日记"A Madman's Diary"
** 孔乙已"Kong Yiji"
** 药""
** 明天""
** 一件小事"An Incident"
** 头发的故事"The Story of Hair"
** 风筝"Kite"
** " Storm in a Teacup"
** 故乡"Hometown"
** 阿Q正传"The True Story of Ah Q"
** 端午节"The Double Fifth Festival"
** 白光"The White Light"
** 兔和猫"The Rabbits and the Cat"
** 鸭的喜剧"The Comedy of the Ducks"
** 社戏"Village Opera"
** "New Year Sacrifice"
* from《彷徨》"Wondering"
** 祝福 Well Wishes
** 在酒楼上 In the Drinking House
** 幸福的家庭 Happy Family
** 肥皂 Soap
** 长明灯 Forever Lit Lamp
** 示众 Public Exhibition
** 高老夫子 Old Mr. Gao
** 孤独者 Dictator
** 伤逝 Sadness
** 弟兄 Brothers
** 离婚 Divorce
* from《故事新编》"Old Tales Retold"
** 补天 Mending Heaven
** 奔月 The Flight to the Moon
** 理水 Curbing the Flood
** 采薇 Gathering Vetch
** 铸剑 Forging the Swords
** 出关 Going out
** 怀旧 Leaving the Pass
** 非攻 Opposing Aggression
** 起死 Resurrect the Dead
* 我之节烈观"My Views on Chastity"
* 我们现在怎么做父亲"What is Required to be a Father Today"
* "Knowledge is a Crime"
* 说胡须"My Moustache"
* 看镜有感"Thoughts Before the Mirror"
* "On Deferring Fair Play"
* 《呐喊》
* 《彷徨》Wondering
* 《故事新编》Old Tales Retold
* 《野草》Wild Grass （1927）
* 《朝花夕拾》Dawn Blossoms Plucked at Dusk, （1932） a collection of essays about his youth
* Brief History of Chinese Fiction, a substantial study of pre-modern Chinese literature
* at www.marxists.org
* at www.coldbacon.com
* , a long essay by Lu Xun on the difficulties of Chinese characters
*The Lyrical Lu Xun: a Study of his Classical-style Verse -- a book by Jon Eugene von Kowallis -- includes a complete introduction to Lu Xun's poetry in the classical style, with Chinese characters, literal and verse translations, and a biographical introduction which summarizes his life in relation to his poetry.
Lu Xun's works exerted a very substantial influence after the May Fourth Movement to such a point that he was lionized by the regime after 1949. Mao Zedong himself was a lifelong admirer of Lu Xun's works. Though highly sympathetic to the Chinese Communist movement, Lu Xun himself never joined the Chinese Communist Party despite being a staunch as he professed in his works.
Life
Early life
Born in Shaoxing, Zhejiang province, Lu Xun was first named Zhou Zhangshou, then Zhou Yucai, and finally himself took the name of ''Shùrén'' , literally, "to nurture a person". He was the eldest of five brothers, three of whom reached maturity. His younger brother Zhou Zuoren, four years his junior, would become a notable writer in his own right.
The Shaoxing Zhou family was very well-educated, and his paternal grandfather Zhou Fuqing 周福清 held posts in the Hanlin Academy; Zhou's mother, née Lu, taught herself to read. However, after a case of bribery was exposed - in which Zhou Fuqing tried to procure an office for his son, Lu Xun's father, Zhou Boyi - the family fortunes declined. Zhou Fuqing was arrested and almost beheaded. Meanwhile, a young Zhou Shuren was brought up by an elderly servant Ah Chang, whom he called Chang Ma; one of Lu Xun's favorite childhood books was the ''Classic of mountains and seas''.
His father's chronic illness and eventual death during Lu Xun's adolescence, apparently from tuberculosis, persuaded Zhou to study medicine. Distrusting traditional Chinese medicine , he went abroad to pursue a medical degree at Sendai Medical Speciality School in , Japan, in 1904.
Education
Lu Xun was educated at Jiangnan Naval Academy 江南水師學堂 , and later transferred to the School of Mines and Railways 礦路學堂 at Jiangnan Military Academy 江南陸師學堂. It was there Lu Xun had his first contacts with Western learning, especially the sciences; he studied some German and English, reading, amongst some translated books, Huxley's ''Evolution and Ethics'', J. S. Mill's ''On Liberty'', as well as novels like ''Ivanhoe'' and ''Uncle Tom's Cabin''.
On a Qing government scholarship, Lu Xun left for Japan in 1902. He first attended the ''Kobun Gakuin'' , a preparatory language school for Chinese students attending Japanese universities. His earliest essays, written in Classical Chinese, date from here. Lu also practised some jujutsu.
Lu Xun returned home briefly in 1903. Aged 22, he complied to an arranged marriage with a local gentry girl, Zhu An 朱安. Zhu, illiterate and with bound feet, was handpicked by his mother. Lu Xun possibly never consummated this marriage, although he took care of her material needs all his life.
Sendai
Lu Xun left for Sendai Medical Speciality School in 1904 and gained a minor reputation there as the first foreign student of the college. At the school he struck up a close teacher-mentor relationship with lecturer Fujino 藤野嚴九郎; Lu Xun would recall his mentor respectfully and affectionately in an essay "Mr Fujino" in the memoirs in ''Dawn Dew-light Collected at Dusk''. However, in March 1906, Lu Xun abruptly terminated his pursuit of degree and left the college.
Lu Xun, in the well-known Preface to ''Nahan'', his first story collection, revealed why he gave up completing his medical education at Sendai. One day after class, one of his instructors screened a lantern slide documenting the imminent execution of an alleged Chinese spy during the Russo-Japanese War . Lu Xun was shocked by the complete apathy of the Chinese onlookers; he decided it was more important to cure his compatriots' spiritual ills rather their physical diseases.
:"At the time, I hadn't seen any of my fellow Chinese in a long time, but one day some of them showed up in a slide. One, with his hands tied behind him, was in the middle of the picture; the others were gathered around him. Physically, they were as strong and healthy as anyone could ask, but their expressions revealed all too clearly that spiritually they were calloused and numb. According to the caption, the Chinese whose hands were bound had been spying on the Japanese military for the Russians. He was about to be decapitated as a 'public example.' The other Chinese gathered around him had come to enjoy the spectacle." .
Moving to Tokyo in spring 1906, he came under the influence of scholar and philologist Zhang Taiyan and with his brother Zuoren, also on scholarship, published a translation of some East European and Russian Slavic short stories. He spent the next three years in Tokyo writing, translating the literature of those countries into Chinese.
Career
Returning to China, Lu Xun began teaching in the middle school of his hometown and with the establishment of the republic, briefly held a post in the Ministry of Education at Beijing. Encouraged by some fellow associates, he took up teaching positions at the Peking University and Peking Women's Teachers College and began to write.
In May 1918, Lu Xun used his pen name for the first time and published the first major baihua short story, ''Kuangren Riji'' . He chose the surname Lu as it was his mother's maiden family name. Partly inspired by the Gogol short story, it was a scathing criticism of outdated Chinese traditions and feudalism which was metaphorically 'gnawing' at the Chinese like cannibalism. It immediately established him as one of the most influential writers of his day.
Another of his well-known longer stories, ''The True Story of Ah Q'' , was published in installments from 1921 to 1922. The latter would become his most famous work. Both works were included in his first short story collection ''Na Han'' or '''', published in 1923.
Between 1924 to 1926, Lu wrote his essays of ironic reminiscences in ''Zhaohua Xishi'' , published 1928, as well as the prose poem collection ''Ye Cao'' . Lu Xun also wrote many of the stories to be published in his second short story collection ''Pang Huang'' in 1926. Becoming increasingly estranged with his brother Zuoren, the stories are typically more melancholic than in his earlier collection. From 1926, after the March 18 Massacre, for supporting the students' protests which led to the incident, he went on an imposed exile to Xiamen, , then to Zhongshan University at Guangzhou with his wife Xu Guangping.
From 1927 to his death, Lu Xun shifted to the more liberal city of Shanghai, where he co-founded the Chinese League of Left-Wing Writers. Most of his essays date from this last period. Xu Guangping gave birth to a son, Haiyang, on September 27th, 1929. She was in labor with the baby for 27 hours. The child's name meant simply "Shanghai infant". His parents chose the name thinking that he could change it himself later, but he never did so. In 1930 Lu Xun's ''Zhongguo Xiaoshuo Lueshi'' was published. It is a comprehensive overview of history of Chinese fiction up till that time, drawn from Lu Xun's own lectures delivered at Peking University and would become one of the landmark books of Chinese literary criticism in the twentieth-century.
His other important works include volumes of translations — notably from Russian — discursive writings like ''Re Feng'' , and many other works such as prose essays, which number around 20 volumes or more. As a writer, Lu played an important role in the history of Chinese literature. His books were and remain highly influential and popular even today. Lu Xun's works also appear in high school textbooks in Japan. He is known to Japanese by the name Rojin .
Lu Xun was the editor of several left-wing magazines such as ''New Youth'' and ''Sprouts'' .
Because of his leanings, and of the role his works played in the subsequent history of the People's Republic of China, Lu Xun's works were banned in Taiwan until late 1980s. He was among the early supporters of the Esperanto movement in China.
Last days and death
By 1936, Lu Xun's lungs had been greatly weakened by tuberculosis. In March of that year, he was stricken with bronchitic asthma and a fever. The treatment for this involved draining 300 grams of fluid in the lungs through puncture. From June to August, he was again sick, and his weight dropped to only 83 pounds. He recovered some, and wrote two essays in the fall reflecting on mortality. These included "Death", and "This Too Is Life". At 3:30 AM on the morning of October 18th, the author woke with great difficulty breathing. Dr. Sudo, his physician, was summoned, and Lu Xun took injections to relieve the pain. His wife was with him throughout that night, but Lu Xun was found without a pulse at 5:11 AM the next morning, October 19th. His remains were interred in a mausoleum within in Shanghai. He was survived by his son, Haiying.
Style and thought
Lu Xun was a very versatile writer. He wrote using both traditional Chinese conventions and 19th century European literary forms. His style has been described in equally broad terms, conveying both "sympathetic engagement" and "ironic detachment" at different moments. His essays are often very incisive in his societal commentary, and in his stories his mastery of the vernacular language and tone make some of his literary works very hard to convey through translation. In them, he frequently treads a fine line between criticizing the follies of his characters and sympathizing with their very follies.
Lu Xun is typically regarded as the most influential Chinese writer who was associated with the May Fourth Movement. He produced harsh criticism of social problems in China, particularly in his analysis of the "Chinese national character". He has often been considered to have had leftist leanings. Called by some a "champion of common humanity," he helped bring many fellow writers to support communist thought, though he never took the step of actually joining the . It should be remarked, however, that throughout his work the individual is given more emphasis over collectivistic concerns.
Lu Xun felt that the 1911 Xinhai Revolution had been a failure. He described the operation of the as "monkey business", and in 1925 opined, "I feel the so-called Republic of China has ceased to exist. I feel that, before the revolution, I was a slave, but shortly after the revolution, I have been cheated by slaves and have become their slave". This disillusionment with politics led the author to come to the conclusion in 1927 that "revolutionary literature" alone could not bring about radical change. Rather, "revolutionary men" needed to lead a revolution using force.
Legacy
Lu Xun's importance to modern Chinese literature lies in the fact that he contributed significantly to every modern literary genre except the novel during his lifetime. He wrote in a clear lucid style which was to influence many generations, in stories, prose poems and essays. Lu Xun's translations were important in a time when Western literature were seldom read, and his literary criticisms remain acute and persuasively argued.
The relationship between Lu Xun and the Communist Party of China after the author's death was a complex one. On one hand, Party leaders depicted him as "drawing the blueprint of the communist future". Mao Zedong deified him as the "chief commander of China's cultural revolution" At the same time, leaders downplayed the influence of the cosmopolitan May Fourth Movement on Lu Xun, in order to match Lu Xun with the Communist Party's support of folk literature and the common people. During the 1920s and 1930s, Lu Xun and his contemporaries often met informally for freewheeling intellectual discussions. As the Party sought more control over intellectual life in China, this type of intellectual independence was suppressed. Finally, Lu Xun's satirical and ironic writing style itself was discouraged. Mao wrote that "...the style of the essay should not simply be like Lu Xun's. we can shout at the top of our voices and have no need for veiled and round-about expressions, which are hard for the people to understand". Thus, the Communist Party both hailed Lu Xun as one of the fathers of Communism in China and suppressed the intellectual culture and style of writing that he represented.
The work of Lu Xun has also received attention outside of China. In 1986, Fredric Jameson, a prominent Marxist, cited "A Madman's Diary" as the "supreme example" of the "national allegory" form that all Third World literature takes. Gloria Davies compares Lu Xun to Nietzsche, saying that both were "trapped in the construction of a modernity which is fundamentally problematic".
Works
Stories
* from《呐喊》''''
** 狂人日记"A Madman's Diary"
** 孔乙已"Kong Yiji"
** 药""
** 明天""
** 一件小事"An Incident"
** 头发的故事"The Story of Hair"
** 风筝"Kite"
** " Storm in a Teacup"
** 故乡"Hometown"
** 阿Q正传"The True Story of Ah Q"
** 端午节"The Double Fifth Festival"
** 白光"The White Light"
** 兔和猫"The Rabbits and the Cat"
** 鸭的喜剧"The Comedy of the Ducks"
** 社戏"Village Opera"
** "New Year Sacrifice"
* from《彷徨》"Wondering"
** 祝福 Well Wishes
** 在酒楼上 In the Drinking House
** 幸福的家庭 Happy Family
** 肥皂 Soap
** 长明灯 Forever Lit Lamp
** 示众 Public Exhibition
** 高老夫子 Old Mr. Gao
** 孤独者 Dictator
** 伤逝 Sadness
** 弟兄 Brothers
** 离婚 Divorce
* from《故事新编》"Old Tales Retold"
** 补天 Mending Heaven
** 奔月 The Flight to the Moon
** 理水 Curbing the Flood
** 采薇 Gathering Vetch
** 铸剑 Forging the Swords
** 出关 Going out
** 怀旧 Leaving the Pass
** 非攻 Opposing Aggression
** 起死 Resurrect the Dead
Essays
* 我之节烈观"My Views on Chastity"
* 我们现在怎么做父亲"What is Required to be a Father Today"
* "Knowledge is a Crime"
* 说胡须"My Moustache"
* 看镜有感"Thoughts Before the Mirror"
* "On Deferring Fair Play"
Collections
* 《呐喊》
* 《彷徨》Wondering
* 《故事新编》Old Tales Retold
* 《野草》Wild Grass （1927）
* 《朝花夕拾》Dawn Blossoms Plucked at Dusk, （1932） a collection of essays about his youth
* Brief History of Chinese Fiction, a substantial study of pre-modern Chinese literature
Translations
* at www.marxists.org
* at www.coldbacon.com
* , a long essay by Lu Xun on the difficulties of Chinese characters
*The Lyrical Lu Xun: a Study of his Classical-style Verse -- a book by Jon Eugene von Kowallis -- includes a complete introduction to Lu Xun's poetry in the classical style, with Chinese characters, literal and verse translations, and a biographical introduction which summarizes his life in relation to his poetry.
Li Ang
Li Ang is a Taiwanese writer. After graduating from Chinese Culture University with a degree in Philosophy, she studied drama at the University of Oregon, after which she returned to teach at her alma mater. Her major work is ''The Butcher's Wife'' , though she has a copious output. Feminist themes and sexuality are present in much of her work. Many of her stories are set in Lukang.
The Butcher's Wife is critical of traditional Chinese patriarchy. The heroine is sold into marriage with a brutal butcher much older than she. He dominates her sexually and takes pleasure in frightening her in various ways, including a visit to the slaughterhouse, after which the heroine in a disoriented state of mind murders him with a butcher's blade.
See for a list of translations of her fiction .
The Butcher's Wife is critical of traditional Chinese patriarchy. The heroine is sold into marriage with a brutal butcher much older than she. He dominates her sexually and takes pleasure in frightening her in various ways, including a visit to the slaughterhouse, after which the heroine in a disoriented state of mind murders him with a butcher's blade.
See for a list of translations of her fiction .
Jiang Yan
Jiang Yan is a poet and cifu writer in the Southern Dynasty of China, who occupies an important position in the history of the Southern Dynasty literature.
Jiang Yan says that he loves strange yet differences, which has relations with the admiration and pursuit of new and strange social trends and literary habits. This character also affects his making friends and writing style.
Jiang Yan says that he loves strange yet differences, which has relations with the admiration and pursuit of new and strange social trends and literary habits. This character also affects his making friends and writing style.
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