What are Lu Xun's main works?

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Middle school Chinese teaching resource network 2006-0 1- 17

Hou Xiaoqing, teacher training school in Xuanhan County, Sichuan Province.

Lu Xun began his literary activities on 1907 and died on 1936. Over the past 30 years, he has left more than 7 million words of works and translations, plus about100000 words of diaries and letters. He created two collections of short stories: Scream and Hesitation; Collection of historical novels: new stories; A collection of prose poems: Weeds; A collection of essays focusing on reminiscing about the past: "Morning Flowers Picking Up in the Evening", with a total of 350,000 words. Lu Xun's main energy is spent on the creation of essays, with a total of 16 essays, including: Grave, Hot Wind, Huagaiji, the sequel of Huagaiji, Ji You, Sanxian, Erxin, Nanqiang and the Northern Suburb, Pseudo-Free Book, and. The creation of essays occupies a very important position in his life, with nearly 700 essays, about 6.5438+0.35 million words, accounting for 80% of all the creations, which lasted 654.38+08 years. Five collections of China classical literature have been sorted out, compiled and published, including Ji, Miscellaneous Books of Huiji County, Old Banknotes of Novels, Ancient Novels and Legends of Tang and Song Dynasties. There are two books on the study of the history of classical literature in China: A Brief History of Chinese Novels and An Outline of the History of China Literature, with a total of about 800,000 words. Translate and introduce 9 novels, novellas and fairy tales, 78 short stories and fairy tales, 2 plays, 8 literary works and 50 short articles from 10 countries, totaling about 365,438+10,000 words. There are about 600,000 words left in the collection. Lu Xun received more than 500 visiting young people and personally opened and read about 1200 letters from young people. He personally replied about 3,500 letters, but now he can only collect more than 1400 letters, about 800,000 words. There are no statistics in his diary from May 5, 19 12 to June 1936 (including 1922). In addition, there are about 40 kinds of newspapers, magazines and series edited by Mr. Lu Xun, more than 50 kinds of books with preface or postscript for young authors, and 54 kinds of manuscripts for young people to review, edit and introduce. After Lu Xun's death, The Complete Works of Lu Xun published in 1938 has 20 volumes. After the founding of New China, the published Complete Works of Lu Xun was divided into works 10, translations 10, diaries 2, letters 1 0. Many of Lu Xun's works have been translated into more than 50 languages, such as English, Japanese, Russian, French and Esperanto, becoming the most influential writer in the world. Lu Xun is an unprecedented superstar in China's literary world and a teacher for later generations. Regarding the naming of Lu Xun's essays, there are 14 essays written by Lu Xun and to be named. The naming, metaphor, quotation, irony and word separation of these essays are humorous, alert, ironic and enlightening. Regarding the naming of essays, Lu Xun mostly explained it himself when compiling.

Most of the titles of Lu Xun's works are closely related to the historical background of writing at that time, with profound implications.

Hu: Hu, the first collection of Lu Xun's novels, written around the May 4th Movement, 19 18- 1922. Lu Xun said that he "shouted" several times to comfort the "Mercedes-Benz fighters" in the struggle and make them brave. The purpose of the author's creation of "Scream" is to comfort those warriors who are running in loneliness and not to mourn for their predecessors. At the invitation of the editorial board of New Youth, he "shouted a few times and talked a few words to comfort the brave man who was running in loneliness and made him not afraid of his predecessors". He also said: "Since you are crying, of course you have to listen to the will."

Vagrancy: Vagrancy was written in the period when the new culture camp split after the May 4th Movement. Originally, people who participated in the New Culture Movement all "retired, promoted and advanced", while Lu Xun was "lonely" and "hesitant" like a tramp. Wandering shows his mood of exploring on the revolutionary journey during this period. Later, in a poem entitled "Wandering", he said: "Lonely new literary garden, stable old battlefield, two more than one pawn, He Ji alone." This is the origin of the title of "wandering". On the title page of Wandering, he quoted the poem Li Sao: "The road is long, Xiu Yuan is Xi, Xiu Yuan is Xi, and I will go up and down."

On Moro's poetic power: In Moro's poetic power paper, Moro means Sanskrit transliteration, which is called "Satan" in Europe. It turned out that someone named Byron was a British bourgeois revolutionary poet. Later, "those who are determined to resist refer to action, but people who are not very happy in the world are aware of it." The so-called "Moro" poet is also a rebel poet.

On Fulai's Slowness: Fulai is a transliteration of English fairplay in On Fulai's Slowness, which was originally a term used in sports or other competitions, meaning: Fair play, don't use unfair means. Lin Yutang and Zhou Zuoren moved the rules of competitive competition to the political stage. Be lenient with the enemy, don't chase after him.

From Baicaoyuan to San Tan Yin Yue: San Tan Yin Yue is a famous private school in Shaoxing in the late Qing Dynasty. Mr. Lu Xun 12 years old is studying here, and the teacher is Mr. Shou Jinghu. San Tan Yin Yue, the small living room between three long rooms, was originally the study of Shou Jia. Mr. Shou Jason Wu has been teaching here for 60 years. The flavor of "three pools printing the moon": The "three pools printing the moon" mentioned by Mr. Lu Xun in his famous article "From a Hundred Herbs Garden to a Three Pool Printing the Moon" is near the former residence of Mr. Lu Xun in Shaoxing City, Zhejiang Province, where Mr. Lu Xun studied as a teenager. So, why is it called "three pools printing the moon"? It turns out that the "three flavors" come from the old saying that "reading classics tastes like rice beams, reading history tastes like Yao biographies, and reading a hundred flavors like sugar". Reading four books and five classics is the basis of eating rice and flour; Reading Historical Records tastes like drinking wine and eating delicious food: reading books like "A Hundred Schools of Thought contend" tastes like soy sauce and vinegar (like seasoning for cooking). The plaque of "Three Tans Printing the Moon" was written by Liang Shanzhou, a famous calligrapher in Ganjia period of Qing Dynasty. At that time, there was such a woodcut couplet hanging on both sides of the plaque: "I am silent and filial, and I love reading too much." The "three flavors" in "From Herb Garden to San Tan Yin Yue" means: reading classics is like eating staple food; Reading history is like eating vegetables; Look at other things, like spices. About "Three Flavors": The descendant of Mr. Shou, a teacher of Lu Xun's private school (San Tan Yin Yue) said that "Three Flavors" refers to the warmth of cloth, the fragrance of vegetable roots and the long taste of poetry and books. Cloth refers to ordinary people, and "warm cloth" refers to being willing to be ordinary people, not being an official or a master; "Vegetable root fragrance" means being satisfied with simple food and not eager for the enjoyment of delicious food; "Poetry has a long flavor", that is, to seriously understand the profound content of poetry, so as to obtain a deep and long flavor.

Tomb-robbing: Essays on Tomb-robbing written between 1907- 1925 was published by Lu Xun because "some people hate it"; At the same time, it also converges to a part of life, "building a new small grave, one side is burial, and the other side is nostalgia."

Hot air June editor 1925 1 1. Regarding the name of the anthology, Lu Xun explained: "Ruthless cynicism is not as good as a piece of paper, and the feelings and reactions around it are probably' like a duck to water'; I think the air around me is too cold, so I say my own words, so I call it hot air. " When Hot Air collected essays from 19 18 to 1924, Lu Xun's feeling of the status quo was as cold as ever, and he used "hot air" as a metaphor, which reflected Lu Xun's profound criticism of society and urged people to transform society.

Ji 1925 65438+ February. Hua Yi Ji was supplemented on June 1926+00. Received 1925 and 1926 respectively. In ancient superstitions, people's good luck or bad luck is called "good luck with China". Lu Xun explained the name of the collection like this: "People sometimes have to" get people by accident ". ..... Good luck becoming a monk: a canopy on the top is naturally a sign of becoming a Buddha as the ancestor. But the layman can't, the canopy is on the ground, it will be covered, so we have to hit a nail. " When Lu Xun lived in Beijing, he was persecuted by the Beiyang warlord government and attacked by cultural accomplices. It can be said that he had a lot of fate in his life, and his nails often touched: "He was beaten all over by gravel and his head was broken, but he kept touching his blood coagulation." However, "he refused to obey orders and kowtowed." Taking "Gai Hua" as the title, it is humorous, "nothing more than releasing anger and expressing feelings." In addition, in the poem "Self-mockery" written by 1932, the sentence "I want to get over the canopy, but I dare not turn over, and I have met" can be confirmed by the name of Ji Zi.

Weeds: 1924- 1926. He "wrote some short articles when he had a little feeling, exaggerated them and printed them into a book called Weeds". Since the appearance of Weeds, it has really laid the foundation of modern prose poetry. Weeds is a collection of Lu Xun's prose poems, with 24 articles in total. Weeds is the most difficult of all Lu Xun's works. The reason why it is difficult to understand is mainly because the author uses a series of unique artistic techniques. The meaning of the title "Weeds", those weeds whose flowers and leaves are not beautiful, but grow tenaciously, can be compared with my 23 works. It can also be said that my works are compared to weeds, which also means that "wildfires will not completely devour them, and they will grow taller in the spring breeze." Weeds is a companion to Wandering. The former is a prose poem and the latter is a novel.

Flowers in the morning and flowers in the evening: Flowers in the morning and flowers in the evening are a collection of essays created by Lu Xun, mainly recalling childhood and adolescence. A total of 10 articles, written in 1, June 1926 to 1, 654, June 38+0. Originally published in the semi-monthly Mangyuan, the general title was "Coming Back to Life". The title "Morning Flowers Picking Up in the Evening" means "copied from memory". According to Lu Xun, "The article" Morning Flowers Picking Up in the Evening "was" copied from memory ". Flowers in the morning and flowers in the evening are first-hand information about Lu Xun's life, from which we can see the complete image of Lu Xun in his early years. As Mr. Guo Moruo said: "Mr. Lu Xun has no intention of being a poet, but he occasionally works and sings every time." "Reminiscence of the Past" anthology (formerly known as Reminiscence of the Past) means that he recalls the past of youth after middle age.

The tomb was compiled in June 1926+00. Collect essays from 1907 to 1925. Lu Xun collected many essays in his early years. Published on 1927. Lu Xun said: "The past is the past. You can stop chasing, but you can't be so determined. You have to curb the dross and build a new small grave. " On the one hand, it is burial, on the other hand, it is nostalgia. "The grave has collected the author's prose for more than ten years and called it" dross ",which is of course a word of self-modesty. For the defenders of the old system, "putting hateful things in front of him sometimes makes him feel uncomfortable" and "makes him feel a little nauseous", which shows the naming intention of "grave"

Answer to Mr. You Heng: The essay answer to Mr. You Heng was written on1September 4, 927, unchanged and instantly. This is not a general answer, it is not only an obvious sign of Lu Xun's world outlook change, but also an instruction for him to make a deeper and more lasting social criticism. Answer to Mr. You Heng raised Lu Xun's thought to an unprecedented height. The publication of Answer to Mr. You Heng set up a banner for the ideological and cultural circles at that time, marking the persistence of the revolution.

Gang Ji was compiled in June 1928+00. When Lu Xun compiled the sequel to Gai Hua Collection, he wrote a poem that exposed the northern warlords and their imperial literati: "In the past six months, I have seen a lot of blood and tears, but only mixed feelings." Tears wiped away and blood disappeared; Tubo people are happy again, steel knives and soft knives. However, I only have' miscellaneous feelings'. Even when' mixed feelings' are put in the right place, I am just' just'! "This collection contains 1927 essays. Later, Lu Xun said: "In 2007, I was carried away by blood and left Guangdong. Those who hesitate and don't have the courage to say it are all included in Just Set. (Preface to Three Leisure Collections) The author translated the poem written two years ago as "the inscription of 1927 Miscellaneous Collection", which has profound implications. "Justice", the title of this book, is a strong exposure and deep grief and indignation to the crime of 1927 that Kuomintang reactionaries defected from the revolution and massacred the people.

Two-hearted set: The two-hearted set was written around 1930. Kuomintang reactionaries stepped up their efforts to suppress revolutionary literature and art, spread rumors and slandered Lu Xun, and even compiled a biography of two literary ministers to attack him. Lu Xun admitted that he was the "second minister" in the ruling stage and was proud of it, so he named his book "Two Hearts". A collection of two hearts was compiled in April 1932. On May 7th, 1930, The Republic of China Daily published the signature "Man". The article "Biography of Jiro in the Literary World" viciously attacked Lu Xun for the sake of Lu, and was * * *. The article describes the situation that Lu Xun was attacked by reactionary literati and accused by leftist sectarianism, and mocked him with "two ministers". Lu Xun retorted: "The imperial literati gave me this emblem, which shows that there is an emperor in their' literary world'." This hit the nail on the head and pointed out the masters of royal literati such as "men". Lu Xun publicly declared: "I think only the emerging proletarians have a future." Taking "two hearts" as the collective name shows that we have the idea of "helping the second" to the reactionary unified metallurgical workers, which is contrary to them and firmly stands on the standpoint of the proletariat. This episode collects essays from 1930 to 193 1 year.

Three leisure collections were compiled in April, 1932. Collect essays from 1927 to 1929. 1928, Lu Xun and Chuangshe launched a revolutionary literature debate. In 1927, The Creation Society accused "Mr. Lu Xun copied the old stories of his novels under the canopy" and was "interest-centered". "What it implies is a kind of self-sufficiency in deceiving others in the small world, and what it holds is leisure, leisure and the third leisure." In response to this accusation, Lu Xun retorted: "Cheng, in the name of the proletariat, refers to leisure, and there are three kinds of leisure", which is a kind of "exercise method". "On the day of editing," San Xian Ji "was still imitating shooting." On the other hand, Lu Xun also confirmed that the Creation Society "saved" its prejudice of "believing only in evolution". It can be seen that the naming of "Saint Ji Xian" was born out of the literary controversy within the revolutionary literary camp.

South Opera and North Opera: Essays on South Opera and North Opera, written between 1932- 1933. At that time, some people in Shanghai slandered and viciously attacked Lu Xun. Said he stuttered, in dialect. Lu Xun said, "Really, I won't say whether Tai Su is soft or not, nor can I play a loud Beijing accent. Out of tune and dirty. " It means that he never caters to reactionaries and doesn't please those boring literati, but "looks angrily at a thousand fingers."

Gai Hua Collection: Gai Hua Collection "Gai Hua" is the name of the star. Astrologers say that it is good luck for monks to become Buddhas. "But laity can't. If the canopy is on the floor, it will be covered, so we have to drive a nail. " Lu Xun also said in his poem "Self-mockery": "I was transported to Gai Hua for protection, but I was afraid to turn over and meet each other", to show that most of my essays in "The Collection of Gai Hua" were banned from publication after hard struggle, and also to express my anger at the reactionaries.

Pseudo-free book was compiled in July 1933. Collect193365438+1composition from October to May. The essays in this episode were published in Free Talk, a supplement to Shenbao. Lu Xun hit the nail on the head and pointed out: "Free Talk is not a fan magazine, and' freedom' is of course a satire." That is, as far as Lu Xun's articles are concerned, they involve current affairs, or they are abridged or cannot be published. The book "The Pseudo-Freedom Book" has no freedom of speech, which is a powerful exposure to the cultural encirclement and suppression of the Kuomintang reactionaries.

Compilation of South-to-North Tune was compiled in February 1934. A scholar in Shanghai who signed "Mi Zi" wrote in "Sketch of Writers": "Lu Xun likes talking very much, but he stutters a little. He has a" southern accent and a northern accent. " In this regard, Lu Xun sarcastically said: "I can't speak soft Beijing white, I can't play loud Beijing tune, I'm out of tune, I'm out of tune, and it's really a southern accent." "Lu Xun's words show that he is unwilling to go with the flow and despise those boring literati who cater to and please reactionaries. The name of this collection is handy, full of humor and contempt for the enemy, showing an uncompromising attitude. This episode includes essays from 1932 to 1933.

Quasi-romance was compiled in June 1934+00. It is a short article published in Free Talk, a supplement of Shenbao, in June1933-June1. Since May 1933, reactionaries have been oppressing free speech, so the editor "appeals to domestic writers to talk more about love and less complain." After that, Lu Xun still published essays in Free Talk under various pseudonyms. At the time of the collection, Lu Xun concluded: "It is actually impossible to restrict writers with a topic." "People who say the situation can also talk about it." Lu Xun's essays are just a series of "see no evil's love stories", that is to say, by talking about the name of "love", the reality of "wind and cloud" and the political situation from "Spring Breeze" and "Autumn Moon". The so-called "quasi-romance" is actually a kind of irony.

Essays on Cutting Street Pavilion, Essays on Cutting Street Pavilion II and Essays on Cutting Street Pavilion Final Edition: In the last three years of Lu Xun's life, he wrote Essays on Cutting Street Pavilion II and Essays on Cutting Street Pavilion Final Edition, which means "concession". The last article was edited by Xu Guangping after his death (Xu Guangping was born in a declining official family in Guangdong on January 22nd in the 24th year of Guangxu (1898)). Essays on Street Pavilion is an essay written between 1934 and 1936, with a total of three volumes. At that time, Lu Xun lived in the pavilion of Yin Shan Road, Sichuan North Road, which was called "semi-concession". The word "cutting street" accounts for half of the word "concession", and "cutting street pavilion" means "pavilion in semi-concession". Collection of essays on Jiejie (two episodes, final edition)1February, 935. Three essays were collected in 1934, 1935 and 1936 respectively. The preface of the first two episodes is written at the end: "Remember to introduce the pavilion in Shanghai." Lu Xun lived in Shanghai's Sichuan North Road, which was an area where imperialism built roads outside the concession, and was then called the semi-concession. "harmony", the right half of "rent"; "Intermediary" is the lower part of "boundary". "Street kiosk" means "kiosk in semi-concession". "Essays on Cutting the Street Pavilion" is "an essay that brings together the hard and soft encirclement and suppression under the secret sword of the government and the people."

June 1936+ 10 by lace literature editor. Collection 1934 prose. Short comments in newspapers are often printed with lace to show their importance; Lace is also another name for silver dollar. At that time, Lu Xun published articles under a pseudonym, but Liao Mosha, a young writer, didn't know the details. He published an article on lace literature under the pseudonym "Moline", which was critical of lace. Lu Xun said: "This name was given to me by a young comrade-in-arms in the same camp as me." This refers to this matter. Of course, there are some misunderstandings here, and Lu Xun's Collection of Lace Literature is also ironic.

Forest in the sea: 1936 10 18 years 10 months, Lu Xun was critically ill. Huang Yuan, then editor-in-chief of Translation magazine, came to visit and complained that he asked to publish his advertisement in Translation. This advertisement is an "introduction to marine forests". The Forest at Sea is a collection of translations compiled by Lu Xun for the martyrs of Qu Qiubai, and he also published it in the name of "Xia Shuang Society". "Frost" is the original name of Qiubai, and "Summer Frost" means that China misses Qu Qiubai. Unexpectedly, this advertisement became the last article that Mr. Lu Xun read in his life. At 5: 25 a.m. the next day (that is, 1936 10 10/9), Mr. Lu Xun died unfortunately.