Entrusted by the Chinese Language Association to talk about how to read Lu Xun, the reading list for the "Seed Plan for Middle School Chinese Teachers" specifies reading "Selected Works of Lu Xun," which comes in both four-volume and two-volume editions, with many versions available. However, it is recommended that everyone find a good version to read, such as the one published by the People's Literature Publishing House. Additionally, if possible, it is also good to look at "Complete Works of Lu Xun."
I remember when I just started university in 1964, back then it was a five-year program. A fifth-year student told me that if I wanted to learn to think critically and write well, I should tackle "Complete Works of Lu Xun." I took his advice and read the entire "Complete Works of Lu Xun," somewhat understanding it at the time. Later, I lost count of how many times I read it, and indeed, I gained a lot from it. I still remember in 1981, I bought a set of "Complete Works of Lu Xun," the 1981 edition, which cost 61 yuan, equivalent to my monthly salary. The excitement of acquiring "Complete Works of Lu Xun" feels like it was just yesterday, and I still remember it. Anyone who has received a relatively complete education should read some books, some fundamental books, about 10 to 20 kinds, and I believe "Complete Works of Lu Xun" is one of the essential readings for our Chinese citizens; Lu Xun's books are fundamental readings.
The title here is "Reading Some Lu Xun," which means reading freely, non-professionally, and non-utilitarian. It refers to a serious and systematic engagement with and contemplation of logic. Why read Lu Xun? It is to understand and recognize our own culture. For over a century, Lu Xun was the first person to have the deepest understanding of Chinese culture. His perspective is very "sharp," as he rediscovered "China and the Chinese people."
There are many studies on Chinese culture, and many books exist, but Lu Xun is very special; he is irreplaceable. Therefore, his observations and reflections on Chinese culture are not done from a distance in an ivory tower; he summarizes life wisdom from his painful experiences and insights. Thus, reading Lu Xun is quite different from reading general scholars' historical overviews, which is one meaning of understanding Chinese culture.
Today, we emphasize inheriting excellent traditional culture. Undoubtedly, this is our backbone and spiritual support. However, traditional culture cannot be copied directly; it was formed under specific historical periods and conditions. It has its essence and dross, with some outdated aspects that do not fit modern society. Therefore, we inherit the essence, the excellent parts. The central proposition is to inherit excellent traditional culture; it does not say to learn and develop national studies, which has special significance.
Reading Lu Xun also provides a perspective and method for understanding and analyzing traditional culture. We should read Confucius and Mencius, study ancient and modern history, and at the same time, read some Lu Xun. Only then can our knowledge structure be more comprehensive, and our thinking methods more dialectical. Reading Lu Xun can provide us with a genuine experience of our own culture, overcoming the rough thinking typical of populism and youthful anger on cultural issues. This is why we should read Lu Xun; I will briefly explain.
Additionally, Lu Xun's understanding of human nature is also profound. He is very perceptive and insightful; sometimes his words can be harsh, but he understands people and discusses matters with a grasp of national conditions, public sentiment, and the complexities of human relationships. Therefore, in today's electronic and networked era, excessive information may fragment and flatten our thinking. However, Lu Xun's critical thinking approach will greatly help cultivate our thinking and intellectual capacity, making us deeper thinkers, elevating our spirits, and sharpening our awareness.
However, reading Lu Xun is not easy because he is not elegant, peaceful, or leisurely; Lu Xun is real, severe, and profound. So, if one approaches it from a practical standpoint, thinking, "I am just living my life; why should I read him?" one might say it is not necessary to read. Perhaps some people do not genuinely like Lu Xun. Our reading of Lu Xun does not necessarily mean we must learn how to be like him, nor do we need to become so sharp-tongued. Instead, we should learn Lu Xun's thinking methods, his critical consciousness, and gain a clear understanding of our national history and reality from him, acquiring that intellectual drive.
Of course, as a language teacher, from the perspective of language, one can also draw vitality from Lu Xun's use of language, breaking away from the rigid and formulaic writing style, learning how to write. Therefore, language teachers reading Lu Xun can elevate their professional level. If language teachers have not read several of Lu Xun's works, that is unacceptable. Below, I will discuss several issues and offer some suggestions.
How to View Lu Xun's Extremism?#
The first question is how to view Lu Xun's extremism. There is a viewpoint that believes Lu Xun spent his life criticizing traditional culture, and his radical thoughts caused a rupture in traditional culture during the May Fourth Movement, making him a representative of this rupture. This viewpoint seems to have some basis. Lu Xun's criticism of traditional culture is indeed very profound, and he is one of the most vehement critics. Sometimes his critical attitude is very extreme.
We have all read "A Madman's Diary," right? Through the madman's voice, he metaphorically describes Chinese history, especially feudal ethics and autocratic systems, as cannibalism. The madman cannot sleep at night, flipping through history books, and from the cracks of ancient Chinese history's benevolence and morality, he sees two words: "cannibalism." However, this is a literary expression, not a logical judgment, and it indeed contains Lu Xun's unique experiences and discoveries.
During the May Fourth period, whenever Lu Xun spoke about the old system and old culture, he expressed deep hatred, sometimes stating things very absolutely. He once expressed in an unwavering tone: "Whether ancient or modern, whether human or ghost, whether 'Three Graves' or 'Five Classics,' whether 'Heavenly Sphere' or 'River Map,' whether golden figures or jade Buddhas, whether ancestral pills or secret ointments, all must be trampled down." His words are very absolute. It cannot be denied that in dealing with the issue of tradition, Lu Xun indeed adopted a rebellious and contrarian judgment that differs from conventional thinking, which can be shocking and startling. However, it also brings clarity and opens up thought, so Lu Xun's way of thinking is about questioning and criticizing.
In "A Madman's Diary," there is a line: "Just because it has always been this way, does that make it right?" This is the madman's words, but it is also Lu Xun's way of thinking—questioning. What is taken for granted by ordinary people, what seems strange, Lu Xun would question, possibly leading to unique discoveries.
Let me give you an example. During the Qianlong period of the Qing Dynasty, when compiling the "Complete Library of the Four Treasuries," 360 historians were assembled to compile it, with over 3,800 people involved in copying it. How much time did it take? Thirteen years. It was divided into classics, history, philosophy, and collections, totaling 13,600 ancient Chinese books. Of course, this was a great cultural construction project; the so-called flourishing age of compiling history and books indeed had great ambition. From the perspective of cultural history, this conclusion is undoubtedly correct; we also benefit from the "Complete Library of the Four Treasuries," which preserved many ancient texts.
But how did Lu Xun evaluate it? His perspective is different from that of ordinary people. He believed that this act of compiling books was also a form of cultural "control." "Control" refers to the system that restricts and criticizes Han culture and human relationships from the perspective of the victors. The literary inquisition and book burning were also conducted alongside the compilation of the "Complete Library." So what did Lu Xun mean? He meant that the ruling class holds the interpretive power of history, deciding which books to keep and which to burn. Many books that did not align with the orthodox views of the Qing government were excluded, even burned.
Outside of the "Complete Library," there were over 13,600 banned books, and 150,000 volumes were burned. This situation is generally unknown to most people, but Lu Xun saw another side of what everyone regarded as a great project. When the Qing Dynasty compiled the "Complete Library," they basically burned the Ming Dynasty's archives, leaving only over 3,000 items. Lu Xun concluded that "officially compiled history often erases the truth of history, which is called historical revisionism and forced amnesia." This is what the Qing rulers did. Lu Xun pointed out what the emperor's new clothes were.
Such examples are abundant in Lu Xun's works. Why? Because Lu Xun always maintained a skeptical attitude toward tradition. He used a different perspective to rethink and judge the essence of history. Therefore, this contrarian judgment provides a kind of awakening, breaking free from the rigid thinking bound by traditional habits, revealing the truth, and confronting the decayed elements in traditional culture that do not suit our era's development. If we do not grasp Lu Xun's critical intent and stance, we might think he is too damaging, too absolute, and too extreme.
Some scholars are also criticizing Lu Xun, claiming that he advocated not reading Chinese books long ago. Indeed, when Liang Qichao and others promoted a revival of ancient Chinese texts, Lu Xun wrote a short essay called "Books Young People Must Read," in which he stated that when he read Chinese books, he always felt a sense of tranquility, as if reading Chinese books pulled him down, "separating him from life." "When reading foreign books—except for Indian ones—one often connects with life and wants to do something. Although Chinese books have words encouraging people to enter the world, they often reflect a zombie-like optimism; foreign books, even if they are decadent and world-weary, reflect the decadence and world-weariness of living people. Therefore, I advocate reading fewer or no Chinese books and more foreign ones."
Just looking at this statement, it seems too absolute. How can one say that? The issue is the context in which he spoke; it was after the May Fourth Movement's decline when the revival of Confucianism and reading classics emerged. Therefore, Lu Xun's call to read fewer Chinese books is a literary expression, deliberately stated in an absolute manner, containing Lu Xun's overall insights. Because Lu Xun himself read too many Chinese books, too many ancient texts.
When we read Lu Xun, we must pay attention to one issue: do not seize on one of his statements and think it is a thesis-like conclusion. He is a literary figure with literary expression. He is not writing academic papers; he often writes essays, which are a form of critical literary expression. Traditional culture certainly has its essence, but it also has dross; we cannot generalize to praise or criticize. However, when traditional culture as a whole severely hinders the progress of Chinese society, people of Lu Xun's era needed to break free from this iron house, hoping to rise up, so they had to adopt a resolute attitude, speaking in a more radical manner, shouting. This is probably why the May Fourth Enlightenment generation was relatively radical, with historical reasons and a phenomenon of cultural transformation. We must pay attention to these issues when reading Lu Xun. Nowadays, the academic community has a poor understanding of Lu Xun, as if they have completely negated him.
Moreover, from the actual content, what did Lu Xun oppose? What did he criticize about national character? Mainly the feudal and backward aspects of traditional culture, which are cultural and authoritarian systems. He opposed these elements, including "preserving heavenly principles and extinguishing human desires, all of which are false Confucianism," as well as various policies that keep ordinary citizens ignorant, numb, and superstitious. He aimed to strip away these old remnants that entangled our nation, adopting a very resolute attitude, not indecisive, as that would not accomplish anything. Therefore, we must understand Lu Xun's extremism.
Lu Xun believed that in China, if one does not adopt a loud and resolute attitude to bid farewell to the old era, it would be impossible to accomplish anything. As he vividly put it, "Even moving a table requires bloodshed." It is very difficult to accomplish anything. Thus, Lu Xun has his own experiences.
Lu Xun viewed ancient and traditional culture as a whole, and he completely denied it. He did not shy away from being intense and negative, but this was his strategy. The feudal tradition is so deeply rooted that, as mentioned earlier, "even moving a table requires bloodshed." Therefore, he had to adopt this thoroughly ruptured attitude rather than starting with negotiation, adapting to local conditions, or compromising, as that would not work. Even in the sense of a complete and uncompromising opposition to tradition, we highly affirm Lu Xun's special and noble position in the history of thought and literature. This is a strategic approach; while Lu Xun may seem to completely overturn tradition, he is also working on the inheritance of tradition. He is not a historical nihilist.
Lu Xun's attitude toward tradition is very clear: first, to criticize; second, to inherit; and third, to transform. Anything that cannot be transformed or inherited is dross, which is Lu Xun's attitude. At the same time, his work also involves two aspects: first, to criticize, to attack, to destroy; second, to sort out, to inherit, to innovate.
In fact, when teachers read Lu Xun, they should pay attention to this issue. As a literary figure, he expresses more of an emotion and spirit in his creations. Therefore, his criticism of tradition is very resolute; this is one side of Lu Xun. On the other hand, he also possesses a scholar's calmness and rigor. While he criticizes tradition, he invests a lot of energy in sorting out, studying, and analyzing traditional culture, discovering the vital elements that can be referenced and transformed. Lu Xun, in fact, both calls for the overthrow of tradition and simultaneously does a lot of work to inherit it.
I can also provide a statistic to illustrate this point. Lu Xun lived for over 50 years and spent nearly 30 years organizing 22 ancient texts, which is a significant amount of work, including "Tang and Song Legendary Collections," etc. He collected a large number of ancient steles and rubbings and even attempted to write a history of the evolution of Chinese calligraphy. Additionally, in the 1920s, Lu Xun taught a course on the history of Chinese novels at Peking University and later wrote "A Brief History of Chinese Novels" and "An Outline of Han Literature," which, over a hundred years later, remain benchmark works in the study of ancient Chinese literature and culture. Some concepts, methods, and propositions he proposed are still in use today.
Is Lu Xun completely anti-traditional? Not at all; he has two sides. Lu Xun's contemporary scholar Liu Banong invented the character "她" (she). This person presented Lu Xun with a couplet: "Tolstoy's theory, Wei and Jin literature." "To" refers to Tolstoy, and "Ni" refers to Nietzsche. Lu Xun was influenced by foreign literature, and he was significantly influenced by the Wei and Jin literary style. This is the first question: how to view Lu Xun's extremism.
Did Lu Xun's Criticism of National Character Vilify the Chinese People?#
The second question is about Lu Xun's criticism of national character. Did he vilify the Chinese people? Now, when we read Lu Xun's novels and essays, the most striking impression is perhaps his fierce criticism of national character, particularly the national character of the Chinese people. Some people cannot accept this because Lu Xun harshly criticizes the Chinese people, depicting them in an ugly light, which seems to harm our national pride and self-confidence. Nowadays, there is much talk about national self-confidence, and it seems that reading these works diminishes that confidence.
Indeed, Lu Xun spent his life criticizing national character. The term "national character" is an external term, referring to a common character or cultural tendency shared by a nation. Lu Xun's novels and essays expose and criticize the inherent flaws of the Chinese people, highlighting some very negative traits. For example, he often wrote about servility, vanity, voyeurism, carelessness, lack of seriousness, numbness, sorrow, selfishness, narrow-mindedness, conservatism, and ignorance, all of which he portrayed as manifestations of national character.
He is a clear-headed literary figure, providing a critical perspective for the development of social civilization as an intellectual. Therefore, Lu Xun's criticism of national character is a bitter pill; he does not merely sing praises. If something is good, he says it is good; if everyone is good, he points out that the problems are buried within. Lu Xun speaks the truth, revealing the emperor's new clothes.
Thus, when we read Lu Xun, we must understand his intentions. In "The True Story of Ah Q," he portrays the Chinese people in an unflattering light, which can be uncomfortable to read. However, upon reflection, we must ask ourselves: do we see these traits in our surroundings, in ourselves? Perhaps we do. Lu Xun's critique of national character carries a social psychological research quality, often distilled from the most ordinary, everyday life.
For instance, the "onlookers" he mentioned can be likened to the "melon-eating crowd" in contemporary terms. Lu Xun criticized this long ago. He wrote a story called "Demonstration," in which a criminal is taken out for public display. What crime did he commit? It is unclear, but a crowd of onlookers gathers to watch, pushing and shoving each other. This story has no protagonist; the protagonist is the crowd of onlookers, depicting a group of people—fat, thin, old, young, ugly, and handsome—all gathered to watch the spectacle. This novel critiques the national character, symbolizing the apathetic nature of the masses.
Another frequent theme in Lu Xun's writing is the coldness of society and the numbness of human hearts. Teachers often discuss Lu Xun's "Blessing," which can be interpreted in many ways, as well as "Kong Yiji." What is the theme? It has many facets, but one significant aspect is the coldness of society and the numbness of human hearts, the detached observation of others' suffering. The protagonist of "Kong Yiji" is not Kong Yiji himself; I believe it is those onlookers, those spectators. A nation that can only watch and perform is a sad one. Lu Xun's frequent themes revolve around these issues, particularly the critique of national character. Therefore, when we teach "Blessing" and "Kong Yiji," we should also raise this question, not just focus on anti-feudalism.
How to Read "Call to Arms" and "Wandering"?#
The third question is how to read "Call to Arms" and "Wandering." It is generally believed that Lu Xun's novels reflect the enlightenment and revolutionary thought demands of the May Fourth Movement, which we often refer to as anti-feudalism. However, the term "anti-feudalism" has some issues today, but we still use it. In our language teaching, we mostly analyze and evaluate Lu Xun's works from the perspective of criticism, such as "Blessing," "Kong Yiji," "The True Story of Ah Q," and "Medicine," among others.
When reading, teachers should pay attention to the fact that Lu Xun's works are not directly aligned with the May Fourth Movement; he does not appear entirely as a warrior. In fact, Lu Xun's novels have a basic tone of deep concern and anger. "Concern" refers to worry, and "anger" refers to rage. He often finds himself at a loss for solutions, feeling troubled, hence the tone of deep concern and anger. To truly appreciate the deep concern and anger in Lu Xun's works, we must enter his literary world. Of course, it is challenging for middle school students to grasp, and we should not rush them.
However, as language teachers, we should not remain superficial, merely labeling him as anti-feudal. We must read with an understanding of his deep concern and anger. Therefore, everyone should read Lu Xun's essay "Call to Arms," and after reading it, you will understand how he wrote "A Madman's Diary" and the essays in "Call to Arms." Unlike the pioneers and vanguards of the May Fourth period, Lu Xun was not optimistic about China's reality and future. He was not radical; he was somewhat pessimistic but also more calm and clear-headed, with deeper reflections. Of course, one might ask why he could not write more positively or with more "positive energy." We cannot impose such expectations on a writer, as they have their own experiences. His deep concern and anger resonate with us profoundly.
Some say that Lu Xun's works are not suitable for youth but rather for middle-aged individuals with life experience, which has some truth to it. Therefore, even though we are in middle school, why should we include some of Lu Xun's works? Because they are classics. The understanding of middle school students should differ from that of language teachers, but the basic direction should be the same. After reading Lu Xun, teachers should realize that he is different from the general figures of the May Fourth Movement.
We should also note that Lu Xun's novels "Call to Arms" and "Wandering" represent a revolutionary breakthrough in traditional Chinese novels. What are the revolutionary breakthroughs? The first is the subject matter; most of his subjects are ordinary people in everyday life, depicting the most common aspects of life. Lu Xun's writings reflect the prevalent experiences of people at that time. For example, "The True Story of Ah Q" still resonates with our surroundings today, and Lu Xun writes about the tragedy of the mundane. What is the tragedy of the mundane? It seems ordinary, living day by day, yet there is tragedy within it. We must pay attention to this issue.
Compared to traditional novels, Lu Xun reveals a transformation because traditional novels often focus on emperors, generals, talented scholars, and beautiful women, or they depict deities, monsters, and ghosts, rarely addressing the lives of ordinary people. Ancient works like "Strange Tales from a Chinese Studio" and "The Marvelous Tales of Ancient and Modern" also focus on the strange and the extraordinary, which have their artistic characteristics but are more entertaining and distanced from reality.
However, Lu Xun's works are different; they are very close to reality, portraying the characters around us. Nowadays, thousands of novels are published each year, many of which depict real life. Where did this begin? It started with Lu Xun. Previous novels were not like this, except for "Dream of the Red Chamber," which depicts the daily lives of aristocrats. "Dream of the Red Chamber" is a unique work of art, different from ancient novels like "Romance of the Three Kingdoms" and "Water Margin," which focus on extraordinary figures rather than ordinary ones. Lu Xun began to write about our ordinary lives, the mundane tragedies, which is where his charm lies—discovering the eternal sorrow within ordinary human affairs. Lu Xun's works sometimes evoke a sense of sadness because he digs too deep and achieves a sense of artistic estrangement.
When we read Lu Xun's novels, if we engage deeply, we will re-examine our surroundings, observe Chinese culture, and reflect on the national character of the Chinese people. We will come to understand these issues, which we might not have considered before. After reading Lu Xun, we may feel heavy-hearted and compelled to think deeply, making Lu Xun's novels quite different from ordinary ones.
Reading Lu Xun's novels can be exhausting. No one says, "After working 10 hours today, I will go home and read Lu Xun." It is not like that; Lu Xun does not provide a graceful or comfortable feeling. His discoveries are heavy. Almost every piece of his work, every novel, contains unique discoveries that ordinary people do not see. It will linger with you, unlike reading other novels, especially classical ones, where you can observe from a distance and relax. Lu Xun demands that you think deeply.
Because Lu Xun's discoveries are so thorough, he brings a compassionate perspective to understanding human nature and life, addressing rational issues. Lu Xun's understanding of human nature and the concepts of good and evil is profound, which is why his works are always permeated with a sense of sadness, making them not easy to read. Lu Xun's breakthrough in traditional literature also lies in revealing the depths of the soul. As mentioned earlier, ancient novels did not emphasize character psychology as much as Lu Xun's works do. Why did he place such importance on psychology? He aimed to portray the soul and delve into the psychological suffering. Such works tend to be heavy to read. A writer named Fyodor Dostoevsky, whom Lu Xun admired, shares this similarity with Lu Xun.
Therefore, as language teachers, when reading Lu Xun's novels, we should also pay attention to the artistic structure and the breakthroughs and innovations in language. This is something we often do, so I will not elaborate further. However, I will mention that traditional Chinese novels developed from storytelling and historical accounts, focusing on narrative coherence and emphasizing story elements, twists, and having a beginning and an end.
For example, traditional Chinese novels are like bonsai, with a single pine tree in a pot, small yet complete. This is a good quality but relatively singular; they rarely delve deeply into life, especially into the soul and the human heart. Lu Xun's short stories no longer adopt this traditional format; he creates various forms of expression. About two-thirds of his works use a cross-sectional approach, selecting several aspects to view the whole, with little complete story structure. Even when there is a story, it does not condense the plot like traditional novels to create tension or legendary elements.
Additionally, Lu Xun introduced a third-person perspective, which is something we should pay attention to. If our teachers have read little, then our students will read little as well. Last year, a college entrance examination question featured a story from Lu Xun's "New Stories," called "Rational Water." It is quite interesting, using modern terms to describe ancient events and plots, but it contains many modern elements, making it quite entertaining. However, because our students have not been exposed to it, despite many hints in the question, 80% of the candidates could not answer correctly. We must pay attention to this aspect of Lu Xun's novels.
How to Read "Wild Grass"?#
Next, I will discuss how to read "Wild Grass." "Wild Grass" is the most challenging to read; it is actually Lu Xun's favorite work. It is a collection of prose poetry, essentially Lu Xun writing for himself, which can also be seen as Lu Xun's philosophy. Lu Xun wrote it in a very lonely state, engaging in introspective writing. He wrote it for himself, aiming to analyze his own soul. Sometimes, one might pause and ask oneself, "What is wrong with me? What is my situation? Who am I?" This kind of self-analysis can occur.
"Wild Grass" is, in fact, Lu Xun's self-examination, making it his philosophy. Why is it so difficult to understand? Because it employs a lot of symbolic techniques, and its composition is very unique. Most of the chapters describe dreams, often terrifying or peculiar dreams, which are essentially a form of the subconscious, a kind of primitive thinking.
When a person slows down, they may experience a form of primitive thinking. Many elements in "Wild Grass" lack logical coherence; you cannot fully engage with it rationally because it is symbolic and rooted in primitive thought, making some parts difficult to comprehend. Any current interpretations of "Wild Grass," discussing its themes and ideological significance, may be one-sided and not necessarily accurate. How should we read "Wild Grass"? We should focus on the overall feeling, savoring it. If you do not fully understand it, that is okay; the essence can still emerge. Gradually expand your imagination and ponder what the imagery he presents might mean, immersing yourself in that atmosphere.
For example, there is a piece called "Withered Leaves," referring to the leaves of trees. It is very short and has a somewhat classical flavor. It describes how Lu Xun, while flipping through a book, sees a leaf and suddenly recalls how that leaf looked last year, now having turned yellow and withered. There is a hole in the leaf, resembling an eye looking at him. From this, he writes about the passage of life, hoping that those who love him will cherish their own lives, leading to a series of reflections.
In fact, when Lu Xun wrote "Withered Leaves," he was suffering from a severe lung disease, akin to cancer, and he felt his life was fading day by day. Thus, when he saw that leaf, he felt a sense of sorrow. This work is essentially written for himself and also for his beloved Xu Guangping, hoping she would cherish her life. After reading "Withered Leaves," we understand that Lu Xun is a fighter, a warrior, a strong person, but he also has a soft side. In "Withered Leaves," we can see this aspect; even the most resolute person may have a vulnerable side in life. If we understand this background, we can read the feelings about life that emerge from "Withered Leaves."
Reading "Wild Grass" is like this; it immediately gives you a sense of atmosphere and stimulation. You will feel strange, dreamlike, and calm, experiencing a subtle sensation. If teachers have this experience, they will gradually enter that state. It may be difficult to understand, but that is okay; you should recognize that he expresses his complex inner world through dreams and bizarre situations. Lu Xun often writes about the two sides of his inner self, the contradictory aspects, the paradoxical elements, so what he presents may be subconscious, difficult to articulate, and transcendental.
Therefore, we do not necessarily need to define "Wild Grass" too clearly or impose preconceived notions. There are many different interpretations of "Wild Grass," and we can explore them, but when we read it, we should approach it with an open mind. You should know that this is Lu Xun dissecting himself, revealing another side of Lu Xun as a warrior, making him a very real, human Lu Xun.
This is one way to read "Wild Grass." We should not rush to find its theme or meaning; in some sense, it points to something, but we should not focus on that. The main approach should be to read Lu Xun, observing the troubles in his thinking, the contradictions, and the ineffable elements. In linguistics, there are signifiers and signifieds; we should not only focus on the signified. There are signifiers, and sometimes an image may contain very complex meanings, making it a mysterious work.
It is the most challenging yet Lu Xun's favorite work. In his later years, he told young people that he could no longer write anything like "Wild Grass." This work is the most literary and also the most difficult to understand. Such works are relatively rare, and reading them can enhance our literary thinking. The new high school curriculum standards emphasize thinking training, not only logical thinking but also direct and imaginative thinking. Reading "Wild Grass" cultivates our intuitive and imaginative thinking, making it a very good work.
How to Read "Dawn Blossoms Plucked at Dusk"?#
The fifth question is how to read "Dawn Blossoms Plucked at Dusk." In middle school language classes, we have already studied many pieces from "Dawn Blossoms Plucked at Dusk," such as "From the Hundred Herb Garden to the Three Flavor Study," "A Chang and the Classic of Mountains and Seas," "Mr. Tang Niu," etc. Due to the constraints of examination requirements, the analysis and explanation of texts in middle school language education are often very detailed, fragmented, and somewhat rigid, particularly emphasizing the summary of ideological significance, which can seem dogmatic and not conducive to students' learning and understanding of Lu Xun's works. This issue is not limited to Lu Xun's works but exists in others as well.
Before I came here, I watched a teaching video from a high school in Guangzhou, where the first unit of the first year of high school was being taught. The students seemed to speak in a language typical of language classes, often saying things like, "I learned something today," or "This reflects a certain spirit," without expressing any genuine, vivid feelings. This is called "language class tone," which relates to our teaching and the broader environment. Therefore, we say that reading Lu Xun requires breaking away from this rigid tone.
When teachers read "Dawn Blossoms Plucked at Dusk," they should strive to transcend the typical search for standard answers in middle school language teaching, freeing themselves from the constraints of exam-oriented thinking. At the very least, teachers should do this. In fact, "Dawn Blossoms Plucked at Dusk" reveals another side of Lu Xun. "Wild Grass" represents Lu Xun as a warrior, while beyond his critical and rebellious nature, he also possesses a sincere, simple, soft, and even childlike, playful side.
When reading "Dawn Blossoms Plucked at Dusk," it is best to abandon the pursuit of meaning at first. In literary works, we often start with the question of meaning, but we should invest more interest and emotion, treating it as a casual conversation with Lu Xun, allowing us to experience the flavor of Lu Xun's "Dawn Blossoms Plucked at Dusk" and appreciate the beauty of his art.
Of course, "Dawn Blossoms Plucked at Dusk" is a required classic in middle school language classes, and some chapters are quite challenging. The first two pieces are particularly difficult, while the easier ones have already been included in our texts. For example, the opening pieces "Dogs, Cats, and Mice" and "The Twenty-Four Filial Exemplars" are very difficult and can easily stump students. One must overcome these reading barriers to continue. If these two pieces are too challenging, it may not be worth proceeding further. If you read "Dogs, Cats, and Mice" carefully, you will find it quite amusing. It describes the world of pets and animals from a child's perspective. Why does Lu Xun harbor animosity towards cats? His hatred stems from a psychological shadow; he had a pet mouse as a child, which he found adorable, but a cat ate it, causing him great sadness. Thus, he sought revenge for the mouse.
What may seem trivial to adults can hold great significance in the minds of children. Moreover, children sometimes struggle to distinguish between animals and humans, as they both possess human-like qualities. Therefore, when we read "Dogs, Cats, and Mice," we find Lu Xun's writing quite touching as he reminisces about his childhood. Of course, it also leads to many other discussions, which can be quite complex. This is how we should approach reading "Dawn Blossoms Plucked at Dusk," understanding this side of Lu Xun.
Additionally, we should appreciate Lu Xun's humor. While Lu Xun's other works also contain humor, it is particularly prominent in "Dawn Blossoms Plucked at Dusk." In contrast, humor is relatively sparse in "Wild Grass." In "Dawn Blossoms Plucked at Dusk," humor is abundant; it reflects confidence, wisdom, and a stylistic quality, showcasing a certain temperament. In fact, our language classes should encourage students to develop a sense of humor.
Students generally appreciate teachers who meet two criteria: first, they have a sense of humor; second, they understand them. A teacher with a stern demeanor, no matter how well they teach, may not be liked by students. Therefore, when we appreciate "Dawn Blossoms Plucked at Dusk," we should focus on Lu Xun's humor. We should translate our reading experiences into teaching, helping students understand that Lu Xun is not just a warrior but also a warm, mischievous, and lovable person. Humor is a very important aspect of his character.
Another point to note when reading "Dawn Blossoms Plucked at Dusk" is that discussing the structure of many chapters may not be very useful. The most important aspect is the grandeur of the writing. This is also challenging to master. Grandeur, openness, and elegance are qualities of Lu Xun's writing. "Mr. Tang Niu" is particularly difficult to analyze structurally. It seems to meander, discussing his studies in Japan, the shiny oil, the smoky atmosphere in the meeting hall, and various experiences of discrimination, before finally mentioning Mr. Tang Niu. It resembles an old man speaking freely, wandering from topic to topic in a natural manner.
Lu Xun once said that writing should be free-flowing, like riding a horse. You should let go; there is a central line, and the horse will not run away. Just let it flow. Therefore, when we analyze the structure and writing style of Lu Xun's works, we should convey this sense of grandeur and the natural feeling of writing to students. It should not feel like a formal essay, yet it is indeed a good piece of writing. Nowadays, our students' compositions often resemble essays too much, which is not necessarily good. Of course, this aspect is challenging for middle school students to learn, so we can just mention it.
Lu Xun's essays also have a characteristic of simplicity. Previously, we referred to this as "plain depiction," but it does not always have to be called that. Simplicity means that his writing is clean and concise. He likes to write about a person or an event, capturing the essence with a few strokes, almost like a caricature. These are all aspects of Lu Xun's style, and I will not provide examples.
In summary, Lu Xun's works, especially "Dawn Blossoms Plucked at Dusk," embody grandeur, humor, and simplicity. These three points should guide students' understanding. When we teachers read these works, we should also pay attention to the fact that this is relatively rare in modern prose; others cannot produce such writing. Lu Xun writes about the changes of an era through his personal experiences, making "Dawn Blossoms Plucked at Dusk" rich in lyrical meaning. We should appreciate it without rushing to find its thematic significance. We should immerse ourselves in it and then discuss it, passing on this reading method to students. You might ask, "What about exams?" Exams can be managed by clearly stating a few answers, but during other times, we can allow students to learn more openly.
How to Read Lu Xun's Essays?#
The sixth and final question is how to read Lu Xun's essays. Essays are a modern literary form closely related to Lu Xun's emergence. Essays belong to the category of argumentative writing but are infused with a strong literary quality. The rise of essays is associated with a magazine called "Yusi," which was run by Lu Xun and Zhou Zuoren. This publication had a very interesting motto: "Speak freely, without reservation." Writers of that era truly wrote with abandon.
What occupied Lu Xun's life for over 50 years? The most significant aspect was the organization of ancient texts, as previously mentioned. The second most important thing was not "Call to Arms" or "Wandering," but rather writing essays. Writing essays was the most important part of his creative work.
However, some scholars, especially those abroad, look down on Lu Xun's essays, claiming they are merely combative and insulting. They say Lu Xun is a genius writer, but it is a pity that he wrote so little. However, that "little" carries significant weight, and essays are also a precious legacy. It can even be said that they are a marvel of Chinese literature spanning over 2,000 years, including both ancient and modern works.
Lu Xun devoted so much energy to writing essays. How many did he write? Over 650 essays, totaling 1.35 million words, published in 16 magazines and collections. Lu Xun's essays are undoubtedly literary, but they are not typical imaginative literary creations or ordinary academic papers. They are inspired by real-life events and directly engage with reality. It is important to note that he intervenes in reality as an intellectual.
From the early 20th century to the 1930s, China underwent many significant changes, including the Xinhai Revolution, the rule of the Beiyang government, the May Fourth Movement, the Northern Expedition, the March 18 Massacre, the failure of the Great Revolution, the cooperation and subsequent split between the Kuomintang and the Communist Party, the Long March of the Red Army, the leftist cultural movement, the debates on revolutionary literature, and the invasion of Japan. During this period, China faced numerous calamities, yet almost all these events were recorded and responded to in Lu Xun's essays. Of course, this is a literary response, not a historical account.
Historians focus on objectivity, clearly stating the time, place, and people involved. Literary figures, however, write with flesh and blood, infused with their emotions, emphasizing social sentiments, thoughts, and culture. For instance, we previously taught "In Memory of Liu Hezhen," which discusses the March 18 Massacre. In history books, it may only take a few lines to explain the causes and outcomes, but it does not convey the sentiments and social mentality during the March 18 Massacre. Reading history may provide clear events and timelines, but it lacks the feelings and experiences, making it difficult to address social psychology. In contrast, Lu Xun's essays capture these vivid historical sentiments. Thus, we say Lu Xun's essays are a marvel; reading them allows us to vividly understand modern Chinese history and even ancient history.
Therefore, we always encourage language teachers to read some of Lu Xun's essays, as they can gain rich literary and historical knowledge, understand over a century of modern Chinese history, learn about our ancient civilization, explore the history of our national psyche, and grasp the national conditions. This is particularly important for cultivating independent and critical thinking, which we lack. Nowadays, middle school language education emphasizes critical thinking, right? This should also advocate for independent and critical perspectives. We should not assume that independent thinking leads to extremism; it does not. Reading Lu Xun's essays can provide a wealth of social and historical knowledge. If you read these essays carefully, look at the annotations, and reference some materials, you will gain a vivid understanding of over a century of Chinese history, including ancient history.
I have a statistic to share: "Complete Works of Lu Xun" involves over 4,500 figures from ancient and modern times, both Chinese and foreign. After reading "Complete Works of Lu Xun," you will at least have a passing familiarity with these 4,500 notable figures. It also references over 5,000 books and documents and more than 450 historical events, making it all-encompassing.
Lu Xun also has a work called "Lu Xun Dictionary," which I often refer to. It covers a wealth of topics, including ancient culture, modern culture, foreign culture, philosophy, history, economics, religion, cultural relics, and even textual criticism, translation, publishing, psychology, education, anthropology, archaeology, cataloging, and biology. It encompasses everything. Some have said that Lu Xun's essays are an encyclopedia, and I believe that in some sense, this is true. After reading Lu Xun, you will have a broad understanding of many topics, and you will at least have heard of many figures.
However, this encyclopedia is a spiritual entity; it is vast, profound, and filled with vivid personal experiences.
Now, we live in a relatively peaceful environment. Of course, there have been recent events, such as the pandemic, but overall, it is relatively peaceful. We may not fully understand the characteristics of the era in which Lu Xun lived. In the past, China experienced many wars. When I was young, I read "The Twenty-Four Histories," and I found that there were very few periods of 30 years without war.
Living in such an environment, we may not grasp why Lu Xun's works are so sharp or why he sometimes criticizes harshly. Lu Xun was a very rebellious, sensitive, and skeptical person, indeed very sharp, and he often felt out of place in reality. He was not particularly easygoing. Of course, we can learn from Lu Xun's thoughts and spirit, but we do not necessarily have to become like him.
If you look at Li Changzhi's "Critique of Lu Xun," written in the 1930s by the young Li Changzhi, who later became a professor at Beijing Normal University, you will find that he wrote a book titled "Critique of Lu Xun," which is essentially a biography of Lu Xun. After Lu Xun read it, he basically affirmed it without objection and even sent him a photo. However, because the book was titled "Critique of Lu Xun," Li Changzhi later faced backlash. In reality, the content does not entirely negate Lu Xun. It includes insightful analyses of Lu Xun's character and psychology. For example, he noted that Lu Xun's thoughts are profound and often not understood by ordinary people. Lu Xun was very sensitive, skeptical, and did not trust his surroundings; he was not easily accepted by society. Lu Xun's critique of national character is incisive and unrelenting.
If we understand this, we see that he is a literary genius. Therefore, we should not impose ordinary standards on him; doing so would eliminate literature. It is like encountering some eccentric artists; if they were not eccentric, they would not create. If they were just like everyone else, how could they express their genius? Lu Xun also had certain eccentricities, but his depth is indeed incisive, prompting us to understand that when he criticizes, he is not merely insulting. He gives many people nicknames, and those who receive them often find themselves in a difficult position because Lu Xun is so famous. Terms like "sycophantic cat," "literary giant," "revolutionary peddler," and "slave overseer" all have specific references. However, Lu Xun's critiques are more of a summary of social cultural psychology and social behavioral patterns, so we should not simplistically view him as merely insulting others. In fact, Lu Xun has public grievances but no personal enemies; this is indeed the case.
Finally, I want to address a point. Lu Xun has sparked much controversy, yet he remains a significant cultural heritage. Therefore, if we reduce the number of Lu Xun's works in language classes, the society will immediately stir. Lu Xun indeed has a profound influence. He is an intellectual, a rebellious figure, and there is often an incompatibility between intellectuals and the reality they inhabit. This is true worldwide, but Lu Xun's case is particularly notable. He reveals the truths of reality and life, exposing the dilemmas of social thought and culture. This is the mission of intellectuals and their habit.
From the perspective of social cultural structure, there is a critical component. In a large society, there are all kinds of people. Some individuals are more clear-headed and specifically articulate unpleasant but truthful statements. Only then can our society be vibrant and active. A society can only advance through continuous reflection and criticism. Therefore, intellectuals possess that independent critical spirit; this is their function. There will always be some discordant and even harsh criticisms in society, which is normal and should be allowed to exist. From a certain perspective, the critical spirit in Lu Xun's essays is very precious. We should not be swayed by superficial impressions of "sharpness" or "insults," discarding this spiritual legacy.
Finally, I will say a few words about reading Lu Xun's essays. They are not a beautiful enjoyment; as I mentioned at the beginning, they can be quite uncomfortable. It is a mental uphill climb, like climbing a mountain.
In this era of networking and entertainment, what do we face as we move towards globalization? Our culture, Confucius and Mencius, has not spread, but our TikTok has. In this entertainment-driven era, how can we rescue the decline of our spirit? At the very least, we should slow down that decline, and reading is a good way to do so.
Now, the Chinese Language Association is organizing a reading seed activity, consciously encouraging our teachers to become seeds of reading. Therefore, teachers should have this mindset. Popular culture will inevitably exist; society must have these elements. However, as language teachers, we must maintain a certain distance from popular culture. It is impossible to completely distance ourselves from it. We should not be swept away by it. When a language teacher spends all day on WeChat, then on TikTok, and then looks at popular trends, how can they improve?
Of course, if you choose to live like that, I respect your choice. However, if we want to be good language teachers, I believe we should read more books. It is not necessary to read over 100 kinds; being able to read 20 kinds is already quite an achievement—basic books, both Chinese and foreign. Works like "Complete Works of Lu Xun" and "Complete Works of Marx and Engels" can change your perspective on the world around you. Nowadays, many people shout about Marxism, yet they have not read much of "Complete Works of Marx and Engels." Reading these can enrich our lives and improve our teaching.