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Lu Xun

Lu Xun, pen name of Zhou Shuren, born Zhou Zhangshou, was a Chinese writer. A leading figure of modern Chinese literature, he wrote in both vernacular and literary Chinese as a novelist, literary critic, essayist, poet, translator and political commentator, known for his sharp, satirical style and critical reflections on Chinese history and culture.

Biography
Early life Lu Xun was born in Shaoxing, Zhejiang. As was common before the 20th century, Lu Xun used several names. His birth name was "Zhou Zhangshou" (). His courtesy name was "Yushan" (), which he later changed to "Yucai" (). In 1898, before he went to the Jiangnan Naval Academy, he took the given name "Shuren" (), which figuratively means "to be an educated man". The name "Lu Xun ", by which he is most well known internationally, was a pen name chosen upon the initial publishing of his story "Diary of a Madman" in 1918. By the time Lu Xun was born, the Zhou family had been prosperous for centuries, and had become wealthy through landowning, pawnbroking, and by having several family members promoted to government positions. His paternal grandfather, Zhou Fuqing, was appointed to the Imperial Hanlin Academy in Beijing, the highest position possible for aspiring civil servants at that time. Zhou's mother was a member of the same landed gentry class as Lu Xun's father, from a slightly smaller town in the countryside (Anqiaotou, Zhejiang; a part of Tongxiang). Because formal education was not considered socially appropriate for girls, she had not received any education, but she still taught herself how to read and write. The surname Lu Xun () was the same as his mother's. Lu Xun's early education was based on the Confucian classics, in which he studied poetry, history, and philosophy—subjects which, he later reflected, were neither useful nor interesting to him. Instead, he enjoyed folk stories and opera, including the mythological narratives of the Classic of Mountains and Seas and the ghost stories told to him by a servant when he was a child. By the time Lu Xun was born, his family's prosperity had already been declining. His father, Zhou Boyi, had been successful at passing the county-level imperial examinations, the route to wealth and social success in imperial China, but was unsuccessful in writing the more competitive provincial-level examinations (the juren exam). In 1893 Zhou was discovered attempting to bribe an examination official. Lu Xun's grandfather was implicated, and was arrested and sentenced to beheading for his son's crime. The sentence was later commuted, and he was imprisoned in Hangzhou instead. After the affair, Zhou was stripped of his position in the government and forbidden to ever again write the civil service examinations. After the family's attempt at bribery was discovered, Zhou engaged in heavy drinking and opium use and his health declined. Local doctors attempted to cure him through a series of expensive quack prescriptions, including monogamous crickets, sugar cane that had survived frost three times, ink, and the skin from a drum. Despite these expensive treatments, Zhou died of an asthma attack in 1896, at the age of 35. but then abandoned pursuing a traditional Confucian education or career. As a consequence of Lu Xun's decision to attend a military school specializing in Western education, his mother wept, he was instructed to change his name to avoid disgracing his family, After leaving the school, Lu Xun sat for the lowest level of the civil service exams, and finished 137th of 500. He intended to sit for the next-highest level, but became upset when one of his younger brothers died, and abandoned his plans. In 1904, Lu Xun began studying at the Sendai Medical Academy in northern Honshu, but remained there for less than two years. He generally found his studies at the school tedious and difficult, partially due to his imperfect Japanese. While studying in Sendai he befriended one of his professors, Fujino Genkurō, who helped him prepare class notes. Because of their friendship Lu Xun was accused by his classmates of receiving special assistance from Fujino. Part of the war was fought on disputed Chinese land. Lantern slides used in the classroom also featured news items. The girl, Zhu An, had little in common with Lu, was illiterate, and had been subject to foot binding. Lu Xun married her, but they never had a romantic relationship. Despite that fact, Lu Xun took care of her material needs for the rest of his life. and in 1907 he briefly took Russian lessons. He attempted to found a literary journal with his brother, New Life, but before its first publication its other writers and its financial backers all abandoned the project, and it failed. In 1909 Lu Xun and his brother published their translations of Western fiction, including Edgar Allan Poe, as Tales from Abroad, but the book sold only 41 copies of the 1,500 copies that were printed. The publication failed for a number of reasons: it was only sold in Tokyo, which did not have a large Chinese population, and in a single silk shop in Shanghai. Additionally, Lu Xun wrote in Literary Chinese, which was difficult for ordinary people to read. Lu Xun spent these years in traditional Chinese literary pursuits: collecting old books, researching pre-modern Chinese fiction, reconstructing ancient tombstone inscriptions, and compiling the history of his native town, Shaoxing. He explained to an old friend that his activities were not "scholarship", but "a substitute for 'wine and women'". In his personal letters he expressed disappointment about his own failure, China's political situation, and his family's continuing impoverishment. In 1911 he returned to Japan to retrieve his brother, Zuoren, so that Zuoren could help with the family finances. Zuoren wanted to remain in Japan to study French, but Lu Xun wrote that "French... does not fill stomachs". He encouraged another one of his brothers, Jianren, to become a botanist. During the Yuan Shikai era, Lu Xun helped to develop the rules for the committee in charge of censoring works of fiction. Other early work consisted of copying books, but he was later appointed Section Head of the Social Education Division, and eventually to the position of Assistant Secretary. Two of his major accomplishments in office were the renovation and expansion of the National Library of China in Beijing, the establishment of the Natural History Museum, and the establishment of the Library of Popular Literature. Qian replied, "But if a few awake, you can't say that there is no hope of destroying the iron house." Lu Xun recounted the conversation in his short story collection, Call to Arms. Lu Xun continued writing for the magazine, and produced his most famous stories for New Youth between 1917 and 1921. These stories were collected and re-published in Nahan ("Outcry") in 1923. In 1919, Lu Xun moved his family from Shaoxing to a large compound in Beijing, Some writers have speculated that their relationship may have worsened as a result of issues related to money, that Lu Xun walked in on Zuoren's wife bathing, or that Lu Xun had an inappropriate "relationship" with Zuoren's wife in Japan that Zuoren later discovered. After the falling out with Zuoren, Lu Xun became depressed. In March 1926 there was a mass student protest against the warlord Feng Yuxiang's collaboration with the Japanese. The protests degenerated into a massacre, in which two of Lu Xun's students from Beijing Women's College were killed. Lu Xun's public support for the protesters forced him to flee from the local authorities. Later in 1926, when the warlord troops of Zhang Zuolin and Wu Peifu took over Beijing, Lu Xun left northern China and fled to Xiamen. In 1927 Lu Xun was considered for the Nobel Prize in Literature, for the short story The True Story of Ah Q, despite a poor English translation and annotations that were nearly double the size of the text. Lu Xun rejected the possibility of accepting the nomination. Later, he renounced writing fiction or poetry in response to China's deteriorating political situation and his own poor emotional state, and restricted himself to writing argumentative essays. Later career and their son, In 1929, Lu Xun visited his mother, and reported that she was pleased at the news of Xu's pregnancy. After moving to Shanghai, Lu Xun rejected all regular teaching positions (though he sometimes gave guest lectures at different campuses), and for the first time was able to make a living solely as a professional writer, with a monthly income of roughly 500 yuan. He was also appointed by the government as a "specially appointed writer" by the national Ministry of Higher Education, which secured him an additional 300 yuan per month. Lu Xun began to study and identify with Marxist politics, made contact with local CCP members, and became involved in literary disputes with other leftist writers in the city. In 1930 Lu Xun became one of the co-founders of the League of Left-Wing Writers, but shortly after he moved to Shanghai other leftist writers accused him of being "an evil feudal remnant", the "best spokesman of the bourgeoisie", and "a counterrevolutionary split personality". The League continued in various forms until 1936, when the constant disputes among its members led the CCP to dissolve it. Lu Xun's political views became distinctly anti-KMT. In 1933 Lu Xun met Edgar Snow. Snow asked Lu Xun whether there were any Ah Q's left in China. Lu Xun responded, "It's worse now. Now it's Ah Q's who are running the country." Despite the unfavorable political climate, Lu Xun contributed regularly to a variety of periodicals in the 1930s, including Lin Yutang's humor magazine The Analects Fortnightly, and corresponded with writers in Japan as well as China. Although he had renounced writing fiction years before, in 1934 he published his last collection of short stories, Old Tales Retold. In 1936, Lu Xun would meet Kaji Wataru. A Japanese dissident who had fled to Shanghai before the war. And would even employ Kaji as a Japanese translator of his work. After Lu Xun death in 1936, Kaji Wataru would be the only foreigner who served as pallbearer at Lu Xun's funeral. A month before his death, he wrote: "Hold the funeral quickly... do not stage any memorial services. Forget about me, and care about your own life – you're a fool if you don't." Regarding his son, he wrote: "On no account let him become a good-for-nothing writer or artist." Death At 3:30 am on the morning of 18 October 1936, the author woke having great difficulty breathing. Dr. Sudo, his physician, was summoned, and Lu Xun was given injections to relieve the pain. His wife was with him throughout that night. Lu Xun died at 5:11 am the next morning, 19 October. Lu Xun's remains were interred in a mausoleum within Lu Xun Park in Shanghai. Mao Zedong later made the calligraphic inscription above his tomb. He was survived by his son, Zhou Haiying. == Legacy ==
Legacy
, Hungary Lu Xun has been described by Nobel laureate Kenzaburō Ōe as "the greatest writer Asia produced in the 20th century." Shortly after Lu Xun's death, Mao Zedong called him "the saint of modern China", but used his legacy selectively to promote his own political goals. In 1942, he quoted Lu Xun out of context to tell his audience to be "a willing ox" like Lu Xun was, but told writers and artists who believed in freedom of expression that, because CCP areas were already liberated, they did not need to be like Lu Xun . After the People's Republic of China was established in 1949, CCP literary theorists portrayed his work as orthodox examples of communist literature, yet every one of Lu Xun's close disciples from the 1930s was purged. Mao admitted that, had Lu Xun survived until the 1950s, he would "either have gone silent or gone to prison". Party leaders depicted him as "drawing the blueprint of the communist future" and Mao Zedong defined him as the "chief commander of China's Cultural Revolution," although Lu Xun did not join the party. During the 1920s and 1930s Lu Xun and his contemporaries often met informally for free-wheeling intellectual discussions, but after the founding of the People's Republic in 1949 the Party sought more control over intellectual life in China, and this type of intellectual independence was suppressed, often violently. Finally, Lu Xun's satirical and ironic writing style itself was discouraged, ridiculed, then as often as possible destroyed. In 1942, Mao wrote that "the style of the essay should not simply be like Lu Xun's. [In a Communist society] we can shout at the top of our voices and have no need for veiled and round-about expressions, which are hard for the people to understand." In 2007, some of his bleaker works were removed from school textbooks. Julia Lovell, who has translated Lu Xun's writing, speculated that "perhaps also it was an attempt to discourage the youth of today from Lu Xun's inconveniently fault-finding habits." During the Cultural Revolution, the CCP both hailed Lu Xun as one of the fathers of communism in China, yet ironically suppressed the very intellectual culture and style of writing that he represented. Some of his essays and writings are now part of the primary school and middle school compulsory curriculum in China. After the 1989 Tiananmen Square protests and massacre, Chinese academies no longer generally assign "In Memory of Miss Liu Hezhen", an essay angrily denouncing the killing of a student protester in Beijing by the Beiyang government in 1926. Lu Xun completed volumes of translations, notably from Russian. He particularly admired Nikolai Gogol and made a translation of Dead Souls. His own first story's title, "Diary of a Madman", was inspired by Gogol's story of the same name. As a left-wing writer, Lu Xun played an important role in the development of modern Chinese literature. His books were and remain highly influential and popular today, both in China and internationally. Lu Xun's works appear in high school textbooks in both China and Japan. He is known to Japanese by the name Rojin (; ). Because of his leftist political involvement and the role his works played in the subsequent history of the People's Republic of China, Lu Xun's works were banned in Taiwan until the late 1980s. Lu Xun had relationship to Esperanto movement in China. He published the translated work in Japanese of Esperantist Vasilij Erošenko in Shanghai after Erosenko had been expelled for "Bolshevism" from Japan. Lu Xun's importance to modern Chinese literature lies in the fact that he contributed significantly to nearly every modern literary medium during his lifetime. He wrote in a clear lucid style, which was to influence many generations, in stories, prose poems and essays. Lu Xun s two short story collections, Nahan (Call to Arms) and Panghuang (Wandering), are often acclaimed as classics of modern Chinese literature. Lu Xun's translations were important at a time when foreign literature was seldom read, and his literary criticisms remain acute and persuasively argued. Lu Xun was also a leader of the Woodcut Movement in China (1930–1950) and widely recognized as a pioneer of the rise of the woodcut print in China. After encountering new printmaking techniques in Japan, Lu Xun embraced the art form, envisioning it as a medium to promote social change and "an alternative socialist road to art." Through writings, lectures, and woodcut print publications, Lu Xun was instrumental in inspiring a generation in China towards the black-and-white woodcut. The work of Lu Xun has also received attention outside China. In 1986, Fredric Jameson cited "Diary of a Madman" as the "supreme example" of the "national allegory" form that all Third World literature takes. Gloria Davies compares Lu Xun to Nietzsche, saying that both were "trapped in the construction of a modernity which is fundamentally problematic". According to Leonardo Vittorio Arena, Lu Xun cultivated an ambiguous standpoint towards Nietzsche, a mixture of attraction and repulsion, the latter because of Nietzsche's excesses in style and content. Various things are named after him. These include the Lu Xun Literary Prize; Asteroid (233547) 2007 JR27 Luxun; and the Lu Hsun crater on Mercury. The artist Shi Lu Xun chose the second half of his pen name to reflect his admiration for Lu Xun. == Style and thought ==
Style and thought
Lu Xun was a versatile writer. He wrote using both traditional Chinese conventions and 19th century European literary forms. His style has been described in equally broad terms, conveying both "sympathetic engagement" and "ironic detachment" at different moments. Particularly in his early novellas, Lu Xun wrote about characters who were weak, indecisive, frustrated, and largely the victims of oppressive Chinese culture. His essays are often incisive in his societal commentary, and in his stories his mastery of the vernacular language and tone make some of his literary works (like "The True Story of Ah Q") hard to convey through translation. In them, he frequently treads a fine line between criticizing the follies of his characters and sympathizing with those very follies. Lu Xun was a master of irony and satire (as can be seen in "The True Story of Ah Q") and yet could also write impressively direct prose ("My Old Home", "A Little Incident"). Lu Xun is typically regarded by Mao Zedong as the most influential Chinese writer who was associated with the May Fourth Movement. He produced harsh criticism of social problems in China, particularly in his analysis of the "Chinese national character". He was sometimes called a "champion of common humanity". Lu Xun felt that the Xinhai Revolution of 1911 had been a failure. In 1925 he opined, "I feel the so-called Republic of China has ceased to exist. I feel that, before the revolution, I was a slave, but shortly after the revolution, I have been cheated by slaves and have become their slave." He even recommended that his readers heed the critique of Chinese culture in Chinese Characteristics by the missionary writer Arthur Smith. His disillusionment with politics led him to conclude in 1927 that "revolutionary literature" alone could not bring about radical change. Rather, "revolutionary men" needed to lead a revolution using force. In the end, he experienced profound disappointment with the new Nationalist government, which he viewed as ineffective and even harmful to China. Lu Xun contended that "[i]f Chinese characters are not exterminated, there can be no doubt that China will perish." == Bibliography ==
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