In 1931, Lu Xun, in the face of slander, and even "even the baby born just a year ago, and I was sprayed with blood stains", angrily composed a poem "Answer the guest cynical": ruthless may not be true hero, how to pity the son is not a husband. Do you know the man who rises up in the wind and whistles wildly, but when he looks back, he sees a small Yutu? When I first read the last two lines of the poem, I felt that the word "look back" gave birth to a lot of tenderness, which is a father's care for his children. The poem truly expresses Lu Xun's tenderness towards his children and the next generation. Deeper still, from the poem, we can see Lu Xun's thoughts on the relationship between tenderness and hardness. A man who attacked current politics and used the pen as a blade should also have the tenderness to love the next generation and the great hope for the future generation of the revolution.
This idea runs through many of Lu Xun's works, and in the well-known Diary of a Madman, Lu Xun issued a deafening voice: "There are no cannibalistic children, or there are? Save the children." He was y pained by the inferiority of the nationals at that time, and in his agony, he could only pin his hope for life on the children. Only the continuation of life can bring new hope, so in "Record of Reflections . Twenty-five", Lu Xun wrote: "Look at the children of ten or so years old, you can anticipate the situation in China after twenty years ......" Based on this, he himself is willing to be a child cow, willing to "carry the burden of inheritance on their backs and shoulder the floodgates of darkness, and let them go. He was willing to "carry the burden of inheritance, shoulder the gate of darkness, and let them go to a broad and bright place; and thereafter live happily and behave reasonably." From this, we can find a very important part of Lu Xun's thought, namely, the idea of the young. This point, in the research has not been a big attention, later people pay more attention to Lu Xun's works of peasants and intellectuals subjects, these subjects are more classic character images, such as Kong Yiji, AQ, Wei Lianshu ...... But, as Qian Liqun said, "We tend to gaze at the angry Lu Xun, but neglect this side of Lu Xun's compassion and caring." Lu Xun as a warrior deserves our respect, likewise, Lu Xun as the most loving person on earth deserves our admiration. How to look at the loving side of Lu Xun, from a series of children's images he portrayed, we can find the answer.
An innocent child is the most delightful
In Mencius's theory of "human nature is good", children who are not tainted by the world are innocent, pure and lovely. Similarly, in Lu Xun's works, there are some such images of children. They are intelligent, lovely, kind and full of curiosity, carrying Lu Xun's expectations for the future. In the article "Hometown", the young boy leap earth is impressive. At that time, leap earth has not yet been subjected to feudalism and feudalism, in the text he has a "purple round face, head wearing a small felt hat, neck set a bright silver collar." Smart and capable, there are always many novel ideas, leaving "me" a wonderful childhood memory. Between the lines, we can feel the author's love for the character of Junior Leap-Frog, such a beautiful young man, Lu Xun has been looking forward to. However, Leuntu did not grow up to be a newborn, and he finally succumbed to the feudal oppression. Does this mean that Lu Xun's idea of "the young man as a person" is broken? In the latter part of his article, he writes: "But our descendants are still in a state of flux, and Hong'er is not missing Shuisheng." Establishing a new mindset is not easy and cannot be accomplished overnight. Although Leapfrog did not grow into a new person in the end, the journey will not end. Lu Xun always had the hope that the next generation, the next generation, would grow up with new people and new hopes. The beautiful scene will also be reproduced: "The turquoise sands of the seashore unfolded before my eyes, and a full golden moon hung in the deep blue sky above me."
In another work included in the Scream, "Social Play," a series of innocent and lovely children are portrayed. The witty Shuangxi, the sincere Ahfa, a group of children rowing a boat and stealing beans, the sailing boat like a big white fish, as if it is going to carry them to a better future. In that small village, the children are sincere and kind, pure and simple, they don't know how to be selfish, they don't know how to fight. Lu Xun poured a lot of love and sincerity into some of such children.
Not only novels, in Lu Xun's collection of essays "Weeds" also appeared in the image of innocent children. The little girl in "The Passerby" is "about ten years old, with purple hair, dark eyes, and a long black chequered shirt on a white background":. In just a few strokes, the image of a smart and clever little girl is sketched out. In that barren land, the girl is a bright color. She is full of curiosity about everything, full of yearning for the future, "seeing the sky, the earth and the wind every day". Lu Xun fiercely criticizes the old man's muddled life and self-deception on the one hand, and describes the purple-haired girl with gentle strokes and loving language on the other. In the old man's eyes, the graveyard, but in the girl's eyes, "there are many, many wild lilies and wild roses there, I often go to play and see them". The portrayal of the girl's image typifies Lu Xun's idea of "the young as the first", like a kindly old man who leaves all his softness to the children. He was like a kindly old man who left all the softness to the children, but he was "unwilling to infect the loneliness that he thought was bitter to the young people who were dreaming good dreams like me when I was young".
Two tragic destinies cause people to be bitter
"How do we do fatherhood now", Lu Xun wrote: "The former made more sacrifices of the former, their own inability to survive, but harshly accused the latter to come back to specialize in his sacrifices, destroying all the development of its own ability." In those turbulent times, most people were still persecuted by feudal superstitions, and children were completely subjected to the instructions of adults, and their minds were even assimilated. Whether it was the tavern boy watching the opera in Kong Yi Ji, or the grandson waving a dried reed leaf and shouting "kill" in Trembling on the Decadent Line, or the children in Diary of a Madman, it was not precisely because of the "teachings" of their elders that they went from being ignorant at birth to being insensitive later on. The children in "The Diary of a Madman" were not "taught" by their elders to go from being ignorant at birth to being insensitive later on. When I read about these children, I felt y saddened, but what about Mr. Lu Xun? What kind of sadness did he feel when he depicted those miserable children? In "With Feelings XXV", Mr. Lu Xun wrote: "When I was small, I didn't treat him as a human being, and when I got older, I couldn't be a human being." He loved children and new life, but had to face the reality that a part of children were assimilated. He is both angry and agonized, and can only watch the children go down the path of self-destruction.
In other works, we also see the image of children being persecuted to death. It is really heartbreaking to read, you can imagine, Lu Xun is in the image of Hua Xiaobiao bolts on the molding of a lot of energy. Only with the same mood, can write such penetrating words. I was also impressed by Bao'er in Tomorrow. Bao'er was a filial and loving child. In Shan Si's sister-in-law's recollection, "Bao'er sat around eating fennel beans, staring with a pair of small black eyes and thinking for a moment, then said, 'Mom! Father sells wontons, I'll buy wontons when I'm older, and sell many, many dollars, and I'll give them all to you.'" But even this child could not withstand the ravages of the harsh environment. His life withered too quickly, "Shan four sister-in-law gently touched, glue-like sticky hands; panicked to touch the chest, can not help but whimper. Bao'er's breathing went from steady to none, and Shan Si Sister-in-law's voice went from whimpering to bawling."
Even with all the intolerance, Lu Xun had to create the images of Bao'er and Hua Xiaobiao, whose encounters were those of children in that era. Through them, it reflects more strongly Lu Xun's desire to transform the old society and create a new life. He loved the new life, but he still had to write their deaths in a very sad way. In my opinion, the grief of death is for the growth of more new lives. The tragedy of the death is used to wake up more people to cherish children.
The image of children is a part of Lu Xun's works that cannot be ignored, and tenderness is a part of Lu Xun's character that cannot be ignored. No matter who it is, they all love new life and aspire to beauty. Through this series of children's images, we can better feel the softness hidden in Lu Xun's heart.