The genre of Weeds , the artistic characteristics of Weeds .

Wild grass (Lu Xun.

Writing a collection of prose poems).

Wild Grass" was written in the late May Fourth period and is Mr. Lu Xun's only collection of prose and poetry. Written on January 24, 1925. It was published in July 1927 by the Beijing New Book Company.

Included in 1924 1926 23 prose poems, with an inscription on the front of the book. The tortuous and obscure symbolism expresses the bitterness of the author's inner world and the struggle against the real society in the mid-20s. "Such a Warrior", "In the Faint Blood".

One Sleep" and other articles express disappointment and resentment at reality; "Farewell of the Shadow", "Dead Fire", "Tomb Text".

and other chapters depict the confused state of mind after a profound dissection of the self; "Hope" and "After Death" write about the fear of the future, and profoundly show the author's philosophy of life. The language is beautiful and the imagery is subtle and beautiful. (Excerpt from "Cihai").

Wild Grass is Lu Xun's thinnest, most beautiful, and most reprinted collection of prose poems, written during the ebb of the "May Fourth" period. The work uses subtle symbolism to express the loneliness, confusion and fear of an Enlightenment thinker who is alone under the White Terror, and at the same time expresses the disappointment and hope of the people who are "living in a mess and dying in chaos". The biggest feature that distinguishes this work from Lu Xun's other works is that it implies a profound philosophical sense, which contains all of Lu Xun's philosophy.

Similarly, Lu Xun himself once said that his life's philosophy is in "Weeds". He also told young readers that in order to make them understand that their thoughts are suffering, and to let the people know better about this suffering, they can study some of these essays that write about scenes, such as "Autumn Night".

Snow", "Leaves".

The book contains 23 prose poems, including a limerick poem, "My Broken Love," and a poetic play, "The Passerby," both of which were originally published in the Silk of Words from December 1924 to February 1926

In the weekly magazine, "Inscription" was originally published in the 138th issue of "Yuxi" published on July 2, 1927, and was signed by Lu Xun.

The author is Lu Xun, and the genre is prose poetry.

(1) "Wild Grass" adopts the method of symbolism in art, creating a materialistic image to express complex inner feelings.

2) Due to the use of symbolism, the artistic conception is peculiar, creating many unrealistic images and realms.

3) The artistic realm of "Weeds" is fantastical, weird, mysterious and deep, but it expresses realistic content.

4) The language of "Wild Grass" is exquisite, full of poetry, subtle and concise, and has the characteristics of beauty and painting.

The background of the writing of "Weeds".Yes:

In the early 20th century, when China's political situation was turbulent and warlords were fighting, and Duan Qirui** took control of the Beijing regime, China fell into the darkest period after the May Fourth Movement. The warlord ** "destroyed the national movement of student workers for freedom and killed innocent people. He also led several wars in Sichuan, Hunan, Guangxi, Guangdong, southeast and northeast, and quietly disturbed Lu Yan.

There were reversals and setbacks in the May Fourth New Culture Movement, and after the "New Youth" group dispersed, Lu Xun felt like he was fighting alone in the desert. He portrays himself as a remnant of soldiers wandering the old battlefields, unable to find purpose and meaning.

The disharmony with Zhou Zuoren and even the break, so that Lu Xun tried to maintain the concept of a complete home no longer exists, Lu Xun's spiritual home finally integrated on the basis of fragmentation, moreover, the female teacher incident also had a great impact on Lu Xun's mood, the author Lu Xun in order to describe this process, created a series of prose poems reflecting the warlord melee and inner anguish.

Appreciation:

The prose poems that reflect the author's inner contradictions are mainly divided into two themes, one is to directly reveal the contradictions of the inner sedan chair, and in the chapters that reveal the inner contradictions, it focuses on reflecting the author's extreme dissatisfaction with the old self, the old thoughts and the old path.

He wanted to break out of the cage and seek new ideas and ways out, but the subjective and objective environment had not yet created the conditions and ability for him to break out, and as a result, he "ran into walls" everywhere, "making him feel that all parts of China are walls, but they are invisible, like 'ghosts hitting walls,' so that you can 'touch' at any time." In "Farewell to the Shadow", as a symbol of the "new me", the "shadow.""I don't want to be with the "people" who symbolize the "old self".

After repeated and painful ideological struggles, he finally "traveled far alone" and left the "man" to whom he had always been attached", but because he could not find light and a way out, he was "sunk by darkness" in the end. It is the author's pain, contradictions, and even pessimism and disappointment that are reflected here.

The full text of Lu Xun's "Wild Grass" is as follows:

When I'm silent, I feel full; I will open my mouth and feel empty at the same time. Past lives are dead. I rejoiced in this death, because I knew that it had lived.

The life of the dead has decayed. I rejoice in this decay, because I know that it is not empty.

It is my sin that the mud of life is abandoned to the earth, and no trees grow but only weeds. The weeds are not deep at all, and the flowers and leaves are not beautiful, but they absorb the dew, the water, the blood and flesh of the dead, and each takes its own survival. When they live, they will be trampled on until they die and decay.

I testify with this weed, in light and dark, life and death, past and future, before friends and enemies, men and beasts, lovers and unlovers. I will laugh, I will sing. Heaven and earth are so quiet that I can't laugh and sing.

If heaven and earth are not so quiet, I may not be able to.

For myself, for friends and enemies, for men and beasts, for those who love and those who do not love, I hope that the decay of this weed will come quickly. Otherwise, I would not have survived in the first place, which is more unfortunate than death and decay. Go, weeds, with my inscription!

Extended information: "Wild Grass" mainly describes the social state under the rule of the Beiyang warlords, as well as the enthusiastic call for revolutionary forces, deep sympathy for the working people, merciless criticism of the inferior nature of the people, and strict self-dissection.

It also covers a series of opposites such as life and death, dream and awakening, friendship and hatred, love and hate, past and future, light and darkness, love and unlove, silence and opening, attachment and determination.

1. The concept and image of hope and despair, caress and revenge, fierce struggle and fusion in struggle.

One of the biggest features that distinguishes Wild Grass from Lu Xun's other works is its hidden profound philosophical and symbolic communication. Not satisfied with the general gossip or lyrical beauty of the time to convey feelings, but to give a form of beauty to the philosophy of life realized from reality and life experience, to create a special "monologue" style of lyrical prose poetry.

Combining poetry and philosophy, Wild Grass brings a unique artistic brilliance to the new literary form; It no longer relies on the rhyme of poetry, making prose poetry completely independent from new poetry, and becoming a good beginning of modern Chinese philosophical prose poetry.

"Wild Grass" is a collection of prose poems created by modern writer Lu Xun.

The author Lu Xun lived in Beijing under the rule of the Beiyang warlords, and Lu Xun, who was in extreme depression, was in a very depressed state of mind at that time, but his pursuit of ideals was still not disillusioned. The content of the poetry collection is diverse, imaginative, peculiar, linguistic, lyrical and spiritual, and it successfully uses symbolism and has a strong artistic appeal; The poetry collection deepens the artistic and ideological conception of Chinese prose poetry in the form of monolingual lyrical prose, poetic imagination and sublimation.