A harbor that embraces the world and connects the rainbow of the world
Text: Liu Disheng (Editor-in-Chief of Huaxia Magazine, Vice Chairman of Guangzhou Writers Association).
Hao Haoyan is as loyal as white jade, and dignified and fierce as autumn frost, which is very similar to Kong and Ji. This is Xu Shoushang's evaluation of Mr. Lu Xun. Mr. Lu Xun went to Japan to study at Sendai Medical College. In the face of the lazy and weak people of his homeland, Mr. Lu Xun abandoned medicine and literature, and tried to wake up the sick sleeping lion with his hoarse "Scream": "I recommend Xuanyuan with my blood." Mr. Lu Xun tried to save the country with his "shout", and tore the gloom and haze of the sky with the thunder of his "shout". 
Literary and artistic works are the common language of human emotions and cognition. 30 years after Munch completed his painting "The Scream", that is, 100 years ago, Lu Xun's first collection "The Scream" came out. In the midst of both, there are anxieties, hesitations, struggles, distortions, and absurdities, which do not require a high level of artistic appreciation, they are all intense and shocking. It's just that Munch's "scream" is more of a volcanic eruption texture, an emotional announcement caused by individual fate and reality realization, and more frightened and emotionally aggressive, just as Lu Xun's translation of the Japanese writer Itagaki Takaho's "Tide of Modern Art History" said: "Edvard Munch, who had a pious father like a knappy man and a mother who died of lung disease, was originally gloomy in nature, and it was especially easy to feel the darkness ......of life."With a dark mind, he observes the situation of the turbid world, and pulls out the bleak reality hidden in the depths of human life with the simplicity of going straight to ......the bottom with a short knifeIn Munch's own words, it was, "As I stood there alone, I suddenly felt an indescribable horror and trembling, and a cry from nature seemed to shake the universe." Munch's paintings are negative, desperate, full of emotional tension, accurate and subtle. In contrast, Lu Xun's "shout" is a deafening voice from his thoughts on human nature and the nation. It has its own loneliness and loneliness, but "in myself, I thought that I was no longer a person who was too urgent to speak, but perhaps I had not forgotten the sadness of my loneliness that day, so sometimes I still couldn't help but shout a few times to comfort the warrior who was galloping in loneliness, so that he would not be afraid to move forward." He and Munch also saw the helplessness of life and the evil side of human nature, just an almost cruel pessimism, and the other was angry and angry, Lu Xun just wanted to "listen to the thunder in the silent place" in the desperate situation of "daring to sing and mourn"! 
For a long time, the formation of Japan's own culture has been carried out in imitation of China, but since the Meiji Restoration, Western humanities, revolutionary ideas, and art that have been introduced to modern China have mainly passed through Japan. Li Dazhao, Chen Duxiu, **Guo Moruo, Chen Yinke, Wang Guowei, Yu Dafu, etc., to name a few. From 1902 to 1909, when Lu Xun was studying in Japan, he gave up medicine and practiced literature, and he was involved in the literature of European countries, the United States, and Japan, and was greatly influenced by Western philosophers and thinkers such as Nietzsche, Kierkegaard, Tolstoy, Marx, etc. Reading Lu Xun's ** today, it is not difficult to feel the fighting spirit under his existential pessimism, sad and indignant, indignant, and then conscious. Lu Xun was born in a family of traditional knowledge elements, and the immersion of thousands of years of traditional Chinese culture gave him steady and profound introspection and reflection. In modern times, the sages and aspirants of the Chinese revolution have repeatedly encountered setbacks and difficulties on the way to seek the survival and prosperity of the nation, and after experiencing the Xinhai Revolution and the Second Revolution, Lu Xun's thoughts have been greatly shaken. Frustration is intricately intertwined with self-confidence, despair and longing. He is neither as impassioned as Chen Duxiu and Hu Shi, nor as true as Zhang Taiyan and Liu Shipei, but is walking forward in the spiritual wasteland. As a result, compared with traditional literary literati, his writing is more sharp and almost roaring and intense. Reading "The Scream" again, I feel that Mr. is lonely and stubborn, the expression of being on the edge of the cliff is complete and thorough, he wants to tear the fig leaf full of dirt, he wants to wake up the false sleeper who can't wake up, he wants to question "forgiveness is a virtue"! People who seek spiritual comfort may not want to read Lu Xun too much, and most people are afraid that it will be difficult to resist this explicit mental torture. 
Just as Munch wrote on the sketch of "The Scream" that "it can only be painted by a madman", Lu Xun's works also have their crazy determination. "Diary of a Madman" uses the mouth of a madman to say that behind benevolence, righteousness and morality is cannibalism; "Kong Yiji" is written about a poor man who is imprisoned in the so-called "literati path"; "White Light" continues the imagery of "Kong Yiji", but the atmosphere of horror is more intense, pointing to the desperate situation of the old-style literati. Lu Xun originally aspired to medicine, and his works often give people the pain and reality of anatomy. Works such as "Hometown", "Medicine", "Tomorrow", "Storm" and "A Little Thing" all nakedly show the diseases of human nature and society, and heal the place of hope. In the 20th century, many countries experienced different degrees of change and revolution at different stages, and literature and art were also groping forward in the turmoil of the times. Japanese writers such as Kenzaburo Oe, Daisaku Ikeda, and Osamu Dazai, Korean thinker Lee Yong-hee, and critic Park Jae-woo were all deeply influenced by him, and writer Kim Yangshou even commented that "Lu Xun was the writer who occupied the largest territory on the cultural map of East Asia in the 20th century." There are also many writers and scholars in Southeast Asia, Europe and the United States who have studied Lu Xun and his works. Lu Xun's influence is not only in literature, but also in the ideological and social aspects. Lu Xun once said in the article "To Chen Yanqiao": "Today's literature is the same, if it has a local color, it is easy to become the world, that is, to be noticed by other countries. In the article "Hot Wind", "I hope that Chinese young people will get rid of the cold air, just go up, do not have to listen to the words of the self-defeating people, do things that can do things, and speak out loud, there is a heat, a light ......."Today, it seems that these words are even more penetrating, and there is no need to repeat the thinking without borders, with a global vision and a profound span of the times, the "backbone of China" awakens, inspires, and inspires the Chinese to rise up in the revolutionary era, and this kind of vigilance and warning is still to the point and to the point for the situation and mentality of young people today. He gave a direct answer to how the people of a country and the youth of an era should do and how to do it. This kind of national spirit and thought is of more practical significance in the context of realizing the Chinese dream of the great rejuvenation of the Chinese nation. end
HuaxiaIssue 233
Editor-in-chief: Liu Disheng.
Deputy Editor-in-Chief Zhong Minyi.
Assistant to the editor-in-chief: Zhao Yanghuan.
Submission email gdqlhx@163com
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