"Mangyuan" successful establishment realized Lu Xun's long-standing dream magazine. "Mangyuan" is the first week after semimonthly. "Wilderness" magazine in April 20, 1925 founded in Beijing, by Lu Xun editing, attached to the issue of "news". In the same year November 27 sunrise with 32 after closure. "Mangyuan" magazine's main speechwriter for the wilderness society. Mangyuan society was founded in April 11, 1925 members have kuangbiao Association gaochanghong, xiangpeiliang, Shang Yue et al. And the unnamed agency Lu Xun, Wei Suyuan, of Wei Congwu, Li Jiye, Tai Jingnong and Cao Jinghua. Due to complicated members caused internal conflicts and break. "Mangyuan" semimonthly publication in January 10, 1926, issued by the unnamed agency. Edited by Lu Xun, in August 1926, after Lu Xun left Beijing, Wei Suyuan. "Mangyuan" semimonthly cover Department "editorial" Weiming, the difference with the "mangyuan" magazine.
Before and after 1925 "mangyuan" came out, Lu Xun is in the style of a variety of creative peak. Stories "scream" has been in August 1923 by shinchosha publishing, and "blessing", the set in the restaurant ", later income" hesitation "novels published in succession in the Eastern Miscellany, the novel monthly," women's magazine "," Morning Post supplement ", Yusi, journals. Later income "canopy" and the canopy sequel to scribble stream Jedi: in the supplement to morning news "," news supplement "," Mengjin ", Yusi, newspapers and periodicals, essays" hot air ", in November 1925 publication. Prose poem "weeds" series in December 1924 1, Yusi weekly began to have been released in succession, to the wilderness was published has published "autumn", farewell from the shadow, "beg", "My Romance", "revenge", "revenge" (the second), "Hope", "snow" and "Kite", "good story", "passing" and other 11. "Chaohuaxishi", began serialization in March 10, 1926 "mangyuan" semimonthly fifth. At that time, between Lu Xun and "mangyuan" young author is closely linked to the benefit of youth. Influence of Lu Xun on the "wilderness" young colleagues in literary creation is mainly manifested in three aspects: one is the spiritual writing youth balderdash, especially anger, the feeling of sadness in their pen get full performance. Gaochanghong, Shang Yue, xiangpeiliang, Peng based et al prose of youth restless mood and wild gas Zhang Yangqia and "weeds"
Corresponding to the phase. Two is the writing of local novels. Wei Jinzhi, Tai Jingnong, Xu Qinwen and so on with their own characteristics of the rural narrative for the local Chinese left a vivid silhouette. Three is concerned about women. The discovery and presentation of female subject matter is a great contribution to the subject matter of Lu Xun in new literature. "Mangyuan" the female writing to young female narrative of marriage both inside and outside the threshold to win. They explore the traditional women's marriage psychology is a literary response to the issue of Lu Xun and the new culture movement.
A youth: balderdash "mangyuan" picture of the mind and nervous flying
Lu Xun's creation, regardless of the genre, shows the same thinking. Therefore, the young writers of the time always considered Lu Xun's creation as a whole. Maruo Suzuki took note of the spiritual connection between the grass and the novel: the writing of the wild grass, interrupted for about five months. In the meantime, the creation of a "loner", "mourning", "brothers", "divorce" and other four novels. In addition to the "divorce", the other three are Lu Xun's' self dissecting',...... The thinking process of "wild grass" is to be undertaken by these novels." (1) (P315) Lu Xun's self dissecting into a deep artistic conception of "weeds". Lu Xun said: "I work, too dark, because I often feel that except 'dark and empty' but 'solid', want to make a desperate resistance to these, so a lot of the extreme sound." (2) (P21) but Lu Xun never easily denied the existence of hope.
Therefore, "weeds" thoughts often in hope and despair between entanglement winding, tension and dreamy heart mirror, coupled with the solemn and beautiful language, "weeds" has strong poetic beauty. "Five four new literature has a strong theme from the beginning, it is the reflection and variation of the Chinese political metaphor in literature...... Youth theme is not only to point the finger of the past, point to authority, but also to point to the reality of the living environment, the publicity of a kind of non harmonious antagonism." "Youth theme to our modern literature has brought a strong vitality, but also can not avoid the birth of some of the real estate." [3] youth writing starting point is adolescence tiger angry and rebellious gas of simple and crude, the style or loud high pitched or deep despair. Gao Changhong and others in the "mangyuan" period of effort is part of the five four youth writing. Their contemplation of the young people in the psychological world, pay attention to the business cold and even horror imagery, deliberately stressed the society to the youth of bullying and oppression, youth main battle and doubt is in self pity and counter set up. His memories of "wounded bird" when writing said:
"Recall that after the May 4th movement, youth, in the hazy love, Ta reality, flashing light and unpredictable live, so depressed, despair, such as the master and finally to death, around like this in my peer, the most commonly used. [4] (p176) "weeds" type of expose themselves heart and solemn style, in conformity with the youth students to enjoy the fun and stimulate the young writer of the creation of fashion follow. The number of words "mangyuan" weekly or balderdash monologue like many. Mangyuan magazine gaochanghong 1st issue of the cotton robe in the world "and to cultivate good" betel nut "let Xu Guangping feel" quite some gentleman's style, including "," a few phase Xiao Yu ". [2] (P59) the cotton robe in the world "with Lu Xun's Refutation interrogate, satire, extreme and style of the deep, but gaochanghong stick to the individual because of poverty and shame sense, eventually failed to like Lu Xun that put Huai sublimation. The "second future" of the "palm nut set" appeared in the scene and intention of Lu Xun's literary scene and intention: the grave and the road. The cold and proud grave and the endless path of development form a world of depression and loss.
Lu Xun Gao Changhong: "I think Changhong is more vigorous, but empty. He removed my translation "and" Guo Sui Huilvefu translation of Nietzsche's small half outside, nothing at all. So a chance aphoristic man, seems to have a considerable, but not to long." 2 (P644) of this evaluation is also applicable to other "mangyuan kid", such as Lin Peiliang, et al. For Changhong et al. By personal mood of the prose poem writing easier and epigrammatic text also appears strong Qiaoba:
The light is hiding under the dark. A poet is a light and a dark one. The poet for all, not take evasive attitude. The poem itself is the highest brave. [5] attack is such: it is often abandoned you good, and say you baddish, it often give you pointed out a farther way. [6] mangyuan magazine other prose also tend to exhibit agitation, fight, anger and suspicion of multiple emotions. This and Lu Xun's courage, ghost gas or even hatred respond. A large number of prose poetry or prose gradually condensed into a common rebel, cold, cool wind. Of Wei Congwu "ice" (Zhou Kandi 6), is ax the heart laughter "series, liezhe" Silence "(Zhou Kandi 15), Changhong" black stripes "(Zhou Kandi 23) and other shows this feature. These words are often used in the "ice" and "dead fire" image, and these images are "wild grass" of the "dead fire" continuation. The difference is that Lu Xun has never strong young authors show easily defeated mood.
"Mangyuan" young people like Lu Xun is full of soul, a nightmare of interest. "Farewell to the film" is a way, "I dream" is a way. Lu Xun in the "weeds" in continuous write "dream seven", with "I dreamed of......" Opening sentence pattern. Therefore, the "dream" is to find the "wild grass" mind secret channel. 1 (P148) nightmare and death, body and soul, soul and body separation dialogue often. Gao Changhong is writing "my body buried in the seabed, but I still do the dead bone dry laugh, laughter touched the sea." [7] "wilderness" young colleagues can free conversion between dream and reality, thus making also really also imaginary odd strange scene, passed to write inner anxiety and tension. Lu Xun's repeated writing of "dream" is to make young people believe that the unique charm of this writing style, it seems to be in the superposition of fantasy atmosphere and symbolism, the text can be more rich in the intrinsic significance. This kind of works published in the "mangyuan":
Jing Song "life-and-death matter" (Zhou Kandi 12, July 10, 1925)
All "different bed and dream" (Zhou Kandi 13, July 17, 1925)
Shang Yue "Dream Road" (Zhou Kandi 14, July 24, 1925)
Wei Congwu "I and my soul" series (Zhou Kandi 15, 16, 19, 22, July 31, 1925, August 7th, August 28th, September 18th)
Gao Chengjun's "lack of power" (Zhou Kandi 17, August 14, 1925)
Shang Yue "strange country -- one of the heart the mouth laugh" (Zhou Kandi 18, August 21, 1925)
Shang Yue "student dream" (a) (two) (three) (Zhou Kandi 21, September 11, 1925)
Shang Yue "beast of the country -- heart laughs eight" (Zhou Kandi 23, September 25, 1925)
……
In the dream writing, some authors write relatively immature, is typical of the lack of students gas, such as Gao Chengjun's "force". This article to write in the classroom daydreaming is a very common youth distress, adolescence excitement and sense of loss. Where to seek the "power", the process of thinking in this dream is fierce, but the conclusion is that the child type: practice strength, to enrich the lack of life. "Mangyuan" twenty-fourth issue "Jing Song force" is the response of the lack of it. Analogy to the ejection of blood as a strength Bo hair, ask "really lack?" [8] Wei Congwu "I and my soul" is quite speculative force of daydreaming. It with "I" and "my soul" Dialogue: a long history of human bondage, brutal and bloody. This conclusion is induced by Lu Xun's "Diary of a madman". The human dialogue design of soul and body was visible in Lu Xun "the farewell video" traces. Four parts are in the same text began: "I and my soul in a timeless way slowly walked about, neck hung round the door ring knife, just like we saw on the road." [9] "timeless" can be as endless human history has been, "on the neck ring knife" symbol of humans are enslaved state. Treat human slavery attitude is "endure the biggest pain and do not call", "feeling the pain and loud shouting", "knife edge deep neck and feel pain". "In the paradoxical paradox of shouting and shouting, we can find the author's affirmation of" resistance ". "I" in order to relieve the pain of the neck ring knife to cut, "my soul", through the transfer and temporarily forget pain pain. The most sad is the "and" impossible, "I" and "my soul" is facing the killing of the common. The dream writing 11 Shang Yue from two aspects, one is the "mirror" nightmare ", two young students daydreaming. The nightmare Jinghuayuan passed out the irrational state of anxiety, tension and absurdity by nightmare symbol sense of survival. "Heart" in the series "strange laugh", "head of the mouth of the clouds"
And "the kingdom of beasts" is so. Young students day dream is mostly a clear criticism and satire. The dream (a) "reflect the ordinary students look forward to seize the opportunity to become" patriots "," dream "reflect students visit the strength of the faculty, eager to access to positions and even thrive. Compared with Lu Xun on the young students of pure desire, this dream two is undoubtedly poured cold water.
Two, local novels and ancient China: looking back to the folk
With respect to the prose creation, "mangyuan" on the creation of novels is also considerable. Lu Xun once described: the author of the novel backbone still Huang Pengji, Shang Yue, Xiang Peiliang three; and Lu Xun is pushed for editing. But in the very many, in the novel, Wen Bing, Yuan Jun, No, Jingnong, Xiao Ming, green rain etc.. To November, the "news" to stop the supplement outside slightly the, then turned into a semi monthly magazine, published by the unnamed agency, at the time of its introduction of new works, is described the atmosphere gas stagnate in the country Wei Jinzhi: "leave town at dusk". 12 (P258) in addition to Wei Jinzhi, his and Xu Qinwen's local narrative memorable. Xu Qinwen calmly and humor in Lu Xun's opinion is dangerous, but he also can active the write folk life, such as "Shi Dang", but does not see more. " 12 (P256) and the "write lively folk life" "Shi Dang" shocked readers simple imagination of "native". Because the local poor, sad, ignorance of Lu Xun has been tracing out. "Shi Dang" is to live the life of torture of human misery. Write it quarry of builders encountered landslides, died on the spot and bones to find, more cruel is three Mason was not hurt, but the stone block road to escape and their relatives have been unable to rescue, seeing Mason slowly starve to death. And "but more than half a month, the Duo Duo Duo with a hammer blow the sound of a conical iron chisel stone and from the bottom of the hill the other side up, the masons and where open Queshi the, sometimes huh Oh! Cried for a while." [13] Shi Dang events to the brutal impact of modern civilization and human nature, which and later Xiao red "life and death" in the countryside have similarities.
And Xu Qinwen consciousness is different in rural narrative, Tai Jingnong is pushed towards the road of rural narrative by Wei Suyuan and "wilderness", which became one of the 1920's most distinctive local novelist. His novels published in the wilderness "(especially in the semi monthly) and its successor the name". After sorting out the "son of the earth" and "building the tower", he gave up his two novels. So Lu Xun specially for retention: Tai Jingnong is not to expect to write novels, people do not want to write a novel, but in order to Wei Suyuan award advised, in order to "wilderness" of the draft, he came in 1926, also had to start.
To in his works draw "great joy", surely this is not easy, but he contributed to the literature and art; and in the struggle to write the joys and sorrows of love, of light and dark that time, country life and death, the smell of the earth, in the paper, there is no more, more diligent in that the author of the. [12] (setting) and Tai Jingnong doubt not only personal writing ability, and the function of the text also have doubts, so in the book "ashamed": "there is nothing to be dedicated to my contemporaries seniors and friends?? all my is poor and sleepy." 14 (P118) Lu Xun found the meaning of writing in his native New Literature of ten years in the field of. Mao Dun also valued local writing. In his analysis of 1921 4 - 6 in the novels at the time said: "most of a writer for the lives of rural and urban workers very distant, for all social phenomena do not pay attention to, they are most interested in or in love and individualism of the enjoyment of the tendency also obviously." (15) (P9) and after 1922, the scope of the subject matter is to expand much more. The writer's view from the narrow school life as well as the private life of the small wave transfer to the general social dynamics. "New Literature" gradually from the young students go to study the crisscross streets. However, in the crisscross streets around." 15 (P12) of their creation his native literature is a new literary attention of our society, "the people to" reflect the. They took a new look at the local and ancient China from the perspective of Lu Xun's similar enlightenment.
Published in the "wilderness" in his novel "the dead", "brother", "red light", "new grave", the candle flame "," abandoned "," Cup "," son "," the bride "," and he prayed "," earthworms were "11. Among them, in addition to "Cup" "son" and other works are written in vernacular. Day two elder brothers ("brother") ignorance is outrageous, body dye disease still addicted to wine, provoke a fist fight, achieves the face is sent to the fate. Meaningless quarrel fight, and a Q free from the same fist. Poor silver Niang ("red light") try to salvation was beheaded by his son's soul, seemingly absurd ceremony is carrying the deepest love. Four wife ("new grave") because the war lost a pair of children, then fall into the children's wedding crazy dreamland. This can be with Xiang Linsao and on. "The bride" in the midnight uncle sister-in-law married, rely on each other, humble live and touching.
Liu Yichang in September 1979 in the Tai Jingnong's short story, "a text has long been forgotten novelist, Tai Jingnong dabaobuping: pay attention to Lu Xun's novels is should, ignore the Tai Jingnong's novels, almost wasted. Like "earthworms were", "the bride", "red light", "wounded" such novels are valuable harvest in Chinese New Literature movement. " [14] (P6) Liu Yichang's regret, in the 1980s after Tai Jingnong's research obtained the useful complement, Tai Jingnong in Taiwan and the mainland after a process of re found and is now known as by the influence of Lu Xun's achievement has been very high local writers in the new literature.
Three, marriage mark: female psychological exploration and Its Modern Significance
Paying attention to women is an important topic in the new culture movement, the marriage autonomy, female education, women's work rights and so on are often discussed. In the novels, Lu Xun portrayed the Xiang Linsao classic, Xianglinsao set of traditional women in various misfortune. "Wilderness" focus on women's issues is ripe, female narrative Shang Yue, little mo, Huang Pengji et al. The very characteristics.
Huang Pengji in gender issues to make a big fuss. Just seize little granny disguise some performances and Satire (the grandmother of the disease "," wilderness "semimonthly the volume 1 the, 1926 May 25). Housewife reckoning, mean guaen, idle and sick self imagined, sly parent doctor homeopathy decision for patients. Mrs. from ease recuperate. The doctor made a profit on this. The present work of ordinary people's weaknesses. Is three of Tomahawk stories the myna "," Chongxi "," a piece of white cloth "constitute women in both inside and outside the marriage threshold of poems, conjecture of female marriage psychological grasp delicate euphemism. Cousin widowed often come around, provoked poor face of Koumine (the myna "and" mangyuan "magazine 12, July 10, 1925) that is expected to Tianfang, reserved, she taught starlings in an attempt to convey to speak. But the end is not a Starling matchmaker, cousin and others became a pro. Similar the myna "and Ling Shuhua" embroidered pillow ", strive to write the marriage can not be independently women unable to retain youth, faint desire and sobs in the dark bitter.
"Chongxi" (mangyuan magazine No. 24, October 2, 1925) is on the pole of "joyous" immoral marriage custom tracing. The 16 year old girl because of his widowed mother stator mistakenly believed the words of the matchmaker married to her husband the joyous, ShuLiao bridal chamber is also killed when the groom. The girl married to the stator apprehension psychological axis, both cannot say hope, there is infinite worry. And all the contradictions and disputes of the center is to imagine but also to imagine the so-called groom. The groom's death mercilessly declared the stator end of life. Later, Tai Jingnong's "candle" ("wilderness" semi monthly Vol. 2, 4, February 25, 1927) and constitute a complementary. The candle flame "to the woman's parents the joy and fear as the spindle, daughter of parents and the sincere heart of the unstoppable so-called" joyous ", and prematurely extinguished candle flame, and notice the daughter married the widow's unfortunate fate. The two novels set off each other, showing the weak position and helplessness of women in marriage.
Still Tomahawk "a piece of white cloth" (mangyuan magazine 26, October 16, 1925) focus on the elaboration before and after married with pine nuts of the feeling of death. After the wedding, pine nuts for a piece of white cloth is still chaste proved spotless and was sent back home. On the way home, decided to put up with the pine nut yield attitude to live. Shang Yue is devoted to a young woman for marriage and produce the feeling of death, the death of the husband from a sense of fear. Because of the reasons for such dishonorable and escape from the patriarchal control of pine nuts why so firmly accepted the fate of life of humiliation? Pine nuts are braver than Hsiang Lin's wife, perhaps this is the author of Shang Yue than Lu Xun's young, so a more optimistic attitude shaping the pine nuts.
Shang Yue to unfortunate MOTOKO, stator, pine nuts to construct the female images in the traditional marriage system, revealed that women in the traditional concept of marriage is the essence of "materialization". Blame the female facial features, virtues and the so-called "joyous" custom made "married the widowed" tragedy is the male to female "possession" performance. Women are lack of materialized results is women's own subjectivity, both MOTOKO, or stator and pine nuts, although they have considerable intelligence, but in marriage is absent without words, deprived sound, it is no wonder that pine nut feel wedding night lights shining on the body.
Relative to the Shang Yue female position, small "and" MOET unmarried wife "story" is the use of a male perspective. Compared to is Tomahawk pen women of marriage uneasy even faced with imminent disaster the feeling, the male protagonist "I" ("Maiden", "wilderness" magazine No. 5, may 22, 1925) on the mother's marriage full of expect and deeply miss, because "I" son when I had a chance to accompany a girl not yet married died. Remember with gratitude the new ideas of free men in love and marriage produced a subtle effect of deconstruction. It is a beautiful remembrance and light sorrow rather than painful mourning. The female end, the vast sense of life completely two. It can be said that in the traditional society, the dominant position of the dominant position of the dominant position of the subconscious is the "I" can now easily recall the fundamental psychological motivation. "I" "wife's story" (mangyuan magazine Vol. 13, July 17, 1925) due to the creation of fictional love story annoy her. After some persuasion, the wife told her secret love in many years ago and empty after Kowa Naofan. This confidential shattered the "superiority". "I" and his wife's psychological tendency to is the opposite: husband by relaxed and enjoyable gradually became weak with the beat, and his wife from the suspect, cry to the excitement, laugh and challenges her husband is not only the release of the pressure on the survival of women, and gradually restored to the female youth self.
"Mangyuan", although the time is not too long, but its contribution to the new literature in the process of growth is amazing. An example of Lu Xun's young people and to create a "mangyuan" of the youth. Young colleagues in the process of learning from Lu Xun, to develop their own youth writing, from the self mental pictures of the multi-level and multi angle to show the enthusiasm of local novels, women writing, in marking the growth of new literature the most precious youth passion and ideal. Gao Changhong, Shang Yue, Huang Pengji et al in the later and Lu Xun away, is really a pity. In their subsequent development of literature, or to meet together with Lu Xun's "mangyuan" era the most out of color. "Wilderness" is because of the load bearing the literature youth Lu Xun and mutual collision of thought and literature spark and become a generation of literary journals and become May Fourth new literature youth writing the most vivid samples.
reference
[1] Wan Wei Chang Xi. Shame and recovery - "cry" and "wild grass", "M". Qin Gong and so on. Beijing: Peking University press, 2009
[2] Complete works (eleventh volumes) of Lu Xun Lu Xun (2 volumes) (C). Beijing: People's Literature Publishing House, 2005
[3] CHEN Si and. From "juvenile feeling" to "midlife crisis" -- the 20th century Chinese literature study a perspective [J]. Exploration and contending, 2009 (5).