Who can tell me what is the guiding ideology of Confucius and Mencius' golden mean? Why did Lu Xun criticize it, saying that it made the people untenable and full of servility?

The main purpose of The Doctrine of the Mean is to educate people on self-cultivation, self-supervision, self-education and self-improvement, to cultivate themselves into ideal people with ideal personality, to achieve the best, the most benevolent, the most sincere, the most moral, the most sacred, and to keep the outside world at home, and to create the realm of "harmony between man and nature".

Under the background of rapid changes in modern China, traditional cultural patterns no longer matched and ancient laws no longer applied, so Lu Xun had to start "finding another way to escape from a different place", which was actually a gesture and declaration to bid farewell to traditional cultural patterns. As far as Lu Xun is concerned, although he (including Hu Shi, Zhou Zuoren, Liu Bannong, etc. ) He has made in-depth and fruitful research and summary on China's traditional culture, such as his Brief History of Chinese Novels, Textual Research on Hu Shi's China Novels and Outline of China's Philosophy History. He has realized the inheritance of traditional culture in practice, which contains positive factors and "continuity". However, in the way of thinking and the overall value system, he holds a negative holistic view of tradition. The reason is that China's traditional politics, military, culture and system have formed an inseparable whole, and whether the actual function of this whole is qualitative relative to the western social and cultural system has led to China's backwardness. More importantly, Lu Xun's greatness lies in his awareness of his own historicity. In the process of anti-tradition, he also realized his historicity, that is, standing in tradition and "anti-tradition" Therefore, the negative value judgment of tradition leads to the negative value judgment of oneself, which is also the basic premise of Lu Xun's anti-tradition. This shows that Lu Xun brought anti-traditional social activities into his spiritual course and made it have the meaning of "atonement": traditional sin is also my sin, and criticizing and denying tradition is also criticizing and denying "I".

Lu Xun accumulated too much traditional culture in China. Lu Xun, who lived in feudal culture, had a certain natural affinity for feudal culture, which determined that Lu Xun could not get rid of the influence of tradition and also determined the goal of his life-long criticism. At the same time, his closeness to feudal culture is the root of his pain.

Lu Xun's experience in studying abroad has created his sense of responsibility. When living in China, Lu Xun's attitude towards feudal culture was "Love is also you-because you nourished me, and hate is also you-because you destroyed me". At this time, Lu Xun was still limited to "self". Lu Xun experienced a Benjamin-style "shock" after studying abroad: although feudal culture nourished me, it harmed China.

Despair in struggle. The more you struggle, the more you can see the cannibalism essence of feudal culture, and the more you see this essence, the more you struggle. Therefore, Lu Xun often reveals a kind of spiritual despair in his works, which is what we call "critical depth".

Among the modern writers in China, no one has such a profound and specific understanding of the traditional culture of China, and no one has such a persistent and sharp criticism of the traditional culture of China. Lu Xun hit the nail on the head and summarized China's traditional culture as slave culture. He said: "China's culture is all about serving people, and it is bought with the pain of many people. No matter China people or foreigners, anyone who praises China culture is just a part of claiming to be the master. " (The old tune has been sung) Lu Xun believes that China people have never been qualified as "people" and are slaves at most. In the history of China, there are only times when you want to be a slave but can't, and times when you are a slave temporarily. Lu Xun tried to grasp the characteristics of China traditional culture as a whole. While grasping the overall characteristics of China's traditional culture, Lu Xun also deeply analyzed the shortcomings of China's traditional culture in many articles. With a paranoid view of development, Lu Xun tirelessly exposed and criticized the shortcomings of China's traditional culture, "to revive and improve" (to travel), so Lu Xun also tried to dissect and attack the shortcomings of China's traditional culture in his local novel creation.

In Lu Xun's criticism of China's traditional culture, he hated the cowardice of national character. He repeatedly criticized the cowardly national character immersed in China's traditional culture. He said, "... if you are too timid, you will die." There are so many aphorisms and aphorisms in China that people are alive, while many people in China have died and many foreigners have invaded, which is counterproductive. It can be seen that it is urgent for us to abandon the old adage. " Lu Xun's local novels show us a world of cowards. Li Changzhi pointed out in the Art Investigation of Lu Xun's Works that Lu Xun's novel creation "is consistent in content, that is, it describes the ignorance and servility of farmers". In Lu Xun's local novels, the cowardly Hua Laoshuan ("medicine") who staked his son's fate on a bloody steamed bread and the poor Kong Yiji ("Kong Yiji") who wanted to become a gown guest suffered like a puppet's land ("hometown") under the pressure of many children, famine and exorbitant taxes. Sister Xianglin went to the land temple to atone for her sins. Lu, who lived an ambiguous and boring life in Blessing, personally picked a cocoon and wrapped herself in it, and Ai Gu, who was in awe of the seven heroes in Divorce, were all cowards in social life, although they had ups and downs in the face of bumpy fate and life. Lu Xun regarded national cowardice as one of the main causes of national character and attacked it with a decisive attitude. Lu Xun strongly opposed the cowardly people's half-life struggle. He deeply hopes that people can get rid of the shackles of cultural traditions and have a real life. He said: "If there are people in the world who really want to live, they must first dare to speak, laugh, cry, be angry, scold and fight, and repel the cursed era in this cursed place." ("Suddenly thought of? Five ")

Mr. Lu Xun hates bullying by cowards even more. He once pointed out angrily: "the brave are angry and draw their swords at the strong;" Timid people are angry, but they draw their swords at the weak people. There must be many heroes staring at children in a hopeless nation. These mistresses! " (Miscellaneous Feelings) Lu Xun repeatedly criticized and exposed the bullying of cowards in his local novel creation. In Kong Yiji, the drinkers of Xianheng Hotel sneered at Kong Yiji; In medicine, the tea drinkers in Laoshuan Teahouse reprimanded Yu Xia; In "Tomorrow", the red-nosed old arch and blue-skinned Ah Wu bullied the Dasaoshan Temple; In The True Story of Ah Q, Ah Q was insulted by a fake foreign devil, and in Blessing, people in Luzhen told the tragic story of Sister Xianglin. Mr. Lu Xun once pointed out angrily: "We should get rid of the meaningless pain in life. It is necessary to remove coma and rape that create and enjoy the pain of others. " ("My Fierce View")

In his criticism of China traditional culture, Lu Xun hated the feudal concept of chastity and equality. In my view of chastity, Lu Xun regarded feudal chastity as an unconscious killing group without a name. He said, "The truth vaguely handed down by most ancient people in society really doesn't make sense; You can use the power of history and numbers to squeeze dissatisfied people. In this nameless and unconscious killing group, I don't know how many people died in ancient times; The fierce woman will die here. " In his local novels, Lu Xun described that under the influence of feudal chastity, people in rural society "unfortunately fell into the unconscious trap of history and figures and made nameless sacrifices". In Tomorrow, the widow, Sister-in-law Sans, insists on chastity and regards her son Bao Er as her only hope and sustenance in her life. Bao Er's unfortunate death made her lose her tomorrow. After being widowed, Sister Xianglin in Blessing was forced to get married by her mother-in-law. Sister Xianglin, who was bent on celebrating the holidays, tried her best to resist and bumped into the corner of the table. Liu Ma, who claims to be a good woman, actually thought that Sister Xianglin "just hit a death" and advised Sister Xianglin to go to the Earth Temple to donate the threshold, "atone for the crime of this life and die without suffering". The feudal concept of chastity has become a "nameless and unconscious killing group" that destroys rural women. "A woman without public will is inferior; He is intolerable in this society. " Therefore, Sister Xianglin, who was mentally tortured and devastated, had to go to a dead end in a society that could not tolerate her. Lu Xun thought that we should mourn the people who were persecuted to death for the concept of chastity in China history, and said: "We have mourned the people in the past, and we should make a vow: we should be pure, smart, brave and make progress, whether we are ourselves or others. To get rid of the mask. We must get rid of the coma and rape that harm others and ourselves in the world. " ("My Fierce View")

Lu Xun summarized the history and tradition of China's feudal society for thousands of years as a feast of cannibalism based on the feudal hierarchy. Lu Xun pointed out: this kind of man-eating feast, "but we have already arranged it properly, with high and low, big and small, and up and down." I am abused by others, but I can also abuse others; You can be eaten by others, but you can also eat others. I can't move and I don't want to move. "Lu Xun hates this feudal concept of equality. He said: "There are countless' waits' in China. They still depend on their families or ancestors. If they don't reform, there will always be a silent or vocal' national curse'. " ("on" fuck! "China's traditional strict rule of etiquette, such as monarch, minister and father, has been the norm and way of life for thousands of years, and this strict equality thought is vividly displayed in Lu Xun's local novels. In Kong Yiji, people who go to Xianheng Hotel to drink are divided into two categories: long-sleeved guests and short-sleeved guests. Short-sleeved guests stand outside the cabinet and drink, while long-sleeved guests stroll to the room next to the store and sit and drink slowly. Down and out, Kong Yiji is "the only one standing and drinking in a long-sleeved shirt". Kong Yiji failed to rank among the long-sleeved guests, and finally took off his long-sleeved coat and crossed his legs to drink. In Hometown, the protagonist "I", who went back to his hometown to look for memories and feelings of the past, felt a sad and thick barrier between the two when he was called "master" in the leap soil numb by years and life. The little hero who got along well as a child disappeared, leaving only the leap soil as numb as a puppet. Lu Xun very profoundly attributed this gap between people to feudalism. He said: "... in my own mind, it seems that there is always a high wall between each of us, which separates us from each other and keeps our hearts from printing." This is our ancient wise men, the so-called sages, who divided people into ten classes and said they were different. "(Russian translation < The True Story of Ah Q >? Preface).

Lu Xun criticized the doctrine of the mean and deception. The golden mean, known as the highest virtue of Confucianism, advocates the impartial use of the golden mean, which has become the basic criterion and method of people's moral cultivation and behavior. Lu Xun believes that the doctrine of the mean is the root of national cowardice and a great obstacle to the people's reform in China. Lu Xun pointed out: "The temperament of China people always likes reconciliation and compromise. For example, if you say that this room is too dark, you must not allow it to open windows here. But if you advocate tearing down the roof, they will come to a settlement and are willing to open the window. Without a stronger proposition, they always refuse or even carry out peaceful reforms. " (Silent China) In the article "The Wise and the Fool and the Slave", Lu Xun attacked the wise man's golden mean, praised the fool's reform spirit and criticized the slave's servility. In the article "Argument", I criticized the golden mean. Lu Xun also vividly revealed this impartial golden mean in his local novel creation. In Tomorrow, when Wang Jiuma asked about Bao Er's illness in Sisao Mountain, she just "studied it, nodded twice and shook it twice". This kind of noncommittal and irresponsible answer is exactly the same as the answer that neither lies nor is beaten in Argument, which is obviously despised by Lu Xun. The wanderer who returns to Luzhen in Blessing can only use "maybe", "not necessarily" and "unclear" to prevaricate when Sister Xianglin asks about the existence of soul hell. This kind of moderate attitude towards life is explained by Lu Xun in his novel: "'unclear' is a very useful sentence. Brave teenagers who are not doing their jobs often dare to solve doubts and choose doctors. If the result is not good, they are likely to have resentment. However, once this is unclear, everything will be safe. " This is obviously the golden mean of reconciliation and compromise criticized by Lu Xun, and it is a kind of neutralization to get rid of responsibility and morality. Under the oppression of society and environment, Lu in Eating Out has changed from an uninhibited young man who cares about the future and destiny of the country to a timid man who teaches Purple Stone Yueyun in a perfunctory, boring and casual way. He used the golden mean to reconcile and adjust his life. This is obviously also a dissatisfaction with Lu Xun.

Lu Xun hated the slavish character of China people, and even more hated them for creating a wonderful escape by deception and deception. He said: "China people dare not face up to all aspects, and created a wonderful escape by deception and deception, but they think they are on the right path. On this road, it proves that the national character is timid, lazy and skilled. I am satisfied day by day, that is, I am degenerating day by day, but I feel more and more glorious. " Lu Xun hated that they could find "beauty" in slave life through deception and deception. Lu Xun's True Story of Ah Q is intended to write the soul of China people. Ah Q is a typical character who created a wonderful escape by deception and deception. No matter how unfavorable and unpleasant it is, Ah Q can get rid of it and be invincible in the law of spiritual victory. In "Hometown", the hard-working land is numb, looking for the hope of life and spiritual sustenance and comfort in the incense burner candlestick. Sister Xianglin, who was tortured by the blessing, went to the West Land Temple to donate the threshold for atonement and seek spiritual balance and relief. In Lonely Man, Wei, trapped in a cocoon, practiced everything he hated and opposed before, rejected everything he admired and advocated before, and found spiritual victory in failure. Lu Xun hated the servile character of the people, and sincerely hoped to create an unprecedented third era in China's history and truly strive for the qualifications and rights of being a man.